livepilot 1.9.23 → 1.10.0

package/livepilot/skills/livepilot-core/references/device-knowledge/effects-spectral.md

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+# Spectral & Experimental Effects — Deep Parameter Knowledge
+
+These are Live's most unique devices — they operate in the frequency domain rather than the time domain. They don't just process sound — they transform it into something fundamentally different.
+
+## Spectral Resonator
+
+Turns any input into a pitched, resonant instrument. The input excites a bank of tuned resonators — like hitting a piano with a drum stick.
+
+### Core Concept
+
+Feed ANY sound (drums, noise, speech) into Spectral Resonator and it becomes pitched and tonal. The input's dynamics and rhythm are preserved, but the frequencies are replaced by the resonator's tuning.
+
+### Key Parameters
+
+**Frequency / MIDI Input:** The fundamental pitch of the resonators. Can be controlled by MIDI — play notes and the resonators retune in real-time. THIS is the key creative feature: drum loops become melodic patterns.
+
+**Decay:** How long the resonators ring. Short (10-50ms) = percussive, plucky. Medium (100-500ms) = piano/mallet-like. Long (1-5s) = pad/drone-like.
+
+**Partials:** How many resonant frequencies are generated.
+- 1-4: Simple, clear tones
+- 8-16: Complex, bell-like harmonics
+- 32-64: Dense, almost reverb-like harmonic clouds
+
+**Stretch:** Shifts the spacing of the partials.
+- 100% = natural harmonic series
+- Below 100% = compressed harmonics (metallic, inharmonic — bell/gamelan character)
+- Above 100% = stretched harmonics (bright, airy)
+- 50% = octaves only (hollow, organ-like)
+- 200% = extreme stretch (very bright, almost white noise-like)
+
+**Fine Shift:** Detunes all partials together. Even small amounts (1-5%) add chorusing and width. Large amounts (10-30%) create obvious detuning — dissonant, experimental.
+
+### Creative Applications
+
+**Turn drums into a melodic instrument:**
+1. Route a drum loop into Spectral Resonator
+2. Set to MIDI input
+3. Play a chord — the drums now play that chord, with the rhythm of the original drums
+4. Adjust Decay: short for rhythmic melodic percussion, long for pad-like drones
+5. Post-process: Reverb → subtle distortion
+
+**Vocal formants on synths:**
+1. Route a synth pad into Spectral Resonator
+2. Set Stretch to 80-90% and Decay to 200-400ms
+3. Adjust Partials to 8-12
+4. Modulate Frequency with a slow LFO — creates formant-shifting, vowel-like sounds
+5. This is a simplified version of what SOPHIE did with vocal processing
+
+**Metallic texture from noise:**
+1. White noise → Spectral Resonator
+2. Stretch: 40-60% (highly inharmonic — metallic)
+3. Partials: 16-32
+4. Decay: 50-150ms (percussive metallic hits)
+5. MIDI-controlled pitch — play metallic melodies from pure noise
+
+---
+
+## Spectral Time
+
+Two effects in one: spectral delay (different delay times per frequency band) and spectral freeze.
+
+### Spectral Delay Mode
+
+Each frequency bin gets its own delay time. This means the lows can be delayed differently from the highs, creating impossible spectral smearing.
+
+**Delay Time / Tilt / Spray:** 
+- **Time:** Overall delay
+- **Tilt:** Positive = highs delayed more than lows (creates rising spectral sweep). Negative = lows delayed more (creates falling sweep).
+- **Spray:** Randomizes the per-bin delay times — creates a spectral scatter that's unlike any normal delay
+
+**Feedback:** Creates spectral echo buildup. At high values with Tilt, the feedback builds up in specific frequency regions — creates evolving, shifting spectral clouds.
+
+### Freeze Mode
+
+Captures a spectral snapshot and holds it — but unlike Reverb Freeze, you can manipulate the frozen spectrum:
+- **Resolution:** How many spectral bins are captured — more = higher fidelity
+- **Fade In/Out:** How the freeze crossfades
+- Automate Freeze on/off in rhythm — capture → hold → release → capture new content
+
+### Creative Applications
+
+**Arca-style spectral wash:**
+1. Spectral Time in Delay mode on a pad or vocal
+2. Tilt: 40-60% (highs smear, lows stay tight)
+3. Spray: 30-50% (randomize the smearing)
+4. Feedback: 50-70% (build up the spectral wash)
+5. Result: The sound dissolves into a spectral cloud while maintaining rhythmic energy in the lows
+
+**Rhythmic spectral freeze:**
+1. Spectral Time in Freeze mode on a drum loop
+2. Automate Freeze: ON for 1 bar, OFF for 1 bar
+3. While frozen, the captured spectrum sustains — creates a drone from drum content
+4. When released, the live drums return
+5. Alternating between frozen and live creates hypnotic section contrast
+
+---
+
+## Spectral Blur
+
+Creates reverb-like effects from spectral blurring. A user-defined frequency range is smeared into a dense cloud.
+
+### Key Parameters
+
+**Freq Range (Start / End):** Which frequencies get blurred. This is the key creative control:
+- Full range (20Hz-20kHz): Everything blurs — wall of sound
+- Narrow band (e.g., 200-800Hz): Only the mids blur — creates a focused tonal cloud while leaving bass and highs clear
+- High only (4kHz-20kHz): Shimmer effect — highs smear into a bright haze while lows and mids stay tight
+
+**Halo:** Length of the blur grains. Short (10-50ms) = subtle smearing, almost like a room reverb. Long (200-500ms+) = extreme, drone-like blur.
+
+**Residual:** Level of the unblurred signal mixed back in. At 0%, only the blur is heard. At 50%, half blur / half original. At 100%, full original with blur layered on top.
+
+**Freeze:** Same concept as Spectral Time — captures and holds the blurred spectrum.
+
+### Creative Applications
+
+**Selective frequency smearing:**
+1. Spectral Blur on a busy mix element
+2. Range: 800Hz - 3kHz (only mid frequencies)
+3. Halo: 150-300ms
+4. Residual: 60-80% (mostly original, with mid-frequency blur)
+5. Result: The mids develop a "halo" while bass and highs stay precise — creates depth without muddiness
+
+**Frozen harmonic drone:**
+1. Spectral Blur on any input (even a single hit)
+2. Full frequency range
+3. Halo: 500ms+
+4. Freeze ON after a resonant hit
+5. Result: A sustained drone built from the spectral content of one moment
+
+---
+
+## Resonators
+
+Five tuned resonators excited by the input signal. Creates pitched, metallic, or tonal resonance from any source.
+
+### Key Parameters
+
+**Note / Fine:** Tuning of each resonator. Key insight: tune them to a chord:
+- Resonator I: Root (C3)
+- Resonator II: Third (E3)
+- Resonator III: Fifth (G3)
+- Resonator IV: Octave (C4)
+- Resonator V: Minor seventh (Bb3)
+- Now ANY input (drums, noise, speech) becomes harmonized in that chord
+
+**Decay:** How long each resonator rings. Short = percussive. Long = sustaining drone.
+
+**Color:** Brightness of the resonance. Low = dark, warm. High = bright, metallic.
+
+**Filter (Input):** Filters what frequencies excite the resonators:
+- Lowpass: Only bass/mid content triggers resonance — warm, round
+- Highpass: Only high content triggers resonance — bright, metallic
+- Bandpass: Specific frequency range — focused, precise excitation
+
+### Creative Applications
+
+**Auto Shift + Resonators (from Ableton 12.1 tutorial):**
+1. Audio input → Auto Shift (pitch tracking + correction)
+2. Auto Shift MIDI output → Resonators (controls tuning)
+3. Result: The resonators retune in real-time to match the pitch of the incoming audio — creates a harmonized, resonant shadow of whatever passes through
+
+**Drum-to-melody conversion:**
+1. Drum loop → Resonators (tuned to a chord)
+2. Short decay (20-50ms) so resonance is percussive
+3. Color high (70-80%) for metallic character
+4. Mix with original drums for pitched percussion overlay
+5. Automate Note parameter to change the chord every 8 bars — drums play different harmonies
+
+---
+
+## Corpus
+
+Physical modeling resonator — simulates the vibration of physical objects: tubes, plates, membranes, strings.
+
+### Types
+
+**Beam / Marimba / String / Membrane / Plate / Tube / Pipe**
+
+Each type has different resonant behavior:
+- **Beam/Marimba:** Bright, percussive. Good for turning any hit into a mallet instrument.
+- **String:** Sustained, warm. Creates bowed or plucked string-like resonance.
+- **Membrane:** Drum-head resonance. Adds body and tone to drum sounds.
+- **Plate:** Bright, dense, long decay. Creates plate-reverb-like effects.
+- **Tube/Pipe:** Hollow, wind-instrument-like. Adds breathy, airy character.
+
+### Key Parameters
+
+**Tune / Fine:** Pitch of the resonator. Crucial: the resonance only works musically when tuned to match the song's key.
+
+**Decay:** How long it rings. Combined with the type, this determines if the sound is percussive or sustained.
+
+**Brightness:** High-frequency content of the resonance.
+
+**Ratio:** Changes the ratio of the partials — makes the resonance more or less metallic.
+
+### Creative Application
+
+**Physical body for electronic sounds:**
+1. Dry synth stab → Corpus (Plate type)
+2. Tune to match the synth's pitch
+3. Decay 200-500ms
+4. Dry/Wet 30-40%
+5. Result: The synth stab gains a physical, wooden/metallic body — it sounds like it exists in a physical space. This is the difference between "electronic sound" and "electronic sound played through a physical object."
+
+---
+
+## Vocoder
+
+Imposes the spectral shape of one signal (modulator — usually voice) onto another (carrier — usually synth).
+
+### Creative Uses Beyond Vocals
+
+**Drum-shaped synths:**
+1. Carrier: Sustained pad or synth chord
+2. Modulator: Drum loop
+3. The synth's timbre is shaped by the drum's dynamics — it "speaks" the rhythm of the drums while maintaining the pitch of the synth
+
+**Noise-to-speech:**
+1. Carrier: White noise
+2. Modulator: Spoken word / vocal
+3. Bands: 16-40 for intelligibility
+4. The noise "speaks" with the vocal's spectral shape — creates whispered, ghost-like speech
+
+**Cross-synthesis between any two signals:**
+1. Carrier: Signal A (e.g., a pad)
+2. Modulator: Signal B (e.g., a different pad or a recording)
+3. Creates a hybrid that has Signal A's pitch but Signal B's spectral character
+4. This is the foundation of spectral morphing between sounds

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

@@ -0,0 +1,243 @@
+# 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 (Villalobos 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/overview.md

@@ -1,6 +1,6 @@
-# LivePilot v1.9.23 — Architecture & Tool Reference
+# LivePilot v1.10.0 — Architecture & Tool Reference
 
-Agentic production system for Ableton Live 12. 293 tools across 39 domains. Device atlas (280+ devices), spectral perception (M4L analyzer), technique memory, automation intelligence (16 curve types, 15 recipes), music theory (Krumhansl-Schmuckler, species counterpoint), generative algorithms (Euclidean rhythm, tintinnabuli, phase shift, additive process), neo-Riemannian harmony (PRL transforms, Tonnetz), MIDI file I/O.
+Agentic production system for Ableton Live 12. 316 tools across 43 domains. Device atlas (1305 devices, 81 enriched), spectral perception (M4L analyzer), technique memory, automation intelligence (16 curve types, 15 recipes), music theory (Krumhansl-Schmuckler, species counterpoint), generative algorithms (Euclidean rhythm, tintinnabuli, phase shift, additive process), neo-Riemannian harmony (PRL transforms, Tonnetz), MIDI file I/O.
 
 ## Architecture
 
@@ -8,7 +8,7 @@ Agentic production system for Ableton Live 12. 293 tools across 39 domains. Devi
 AI Client  ──MCP──►  FastMCP Server  ──TCP/9878──►  Remote Script (inside Ableton)
                         (validates)                    (executes on main thread)
                             │
-                            ├── Device Atlas (280+ devices, 139 kits, 350+ IRs)
+                            ├── Device Atlas (1305 devices, 81 enriched with sonic intelligence)
                             ├── M4L Analyzer ──UDP/OSC──► LivePilot_Analyzer.amxd
                             └── Technique Memory (~/.livepilot/memory/)
 ```
@@ -32,7 +32,7 @@ A flat tool list lets the AI press buttons. LivePilot's three layers give it con
 
 This turns "set EQ band 3 to -4 dB" into "cut 400 Hz by 4 dB, then read the spectrum to confirm the mud is actually reduced."
 
-## The 293 Tools — What Each One Does
+## The 316 Tools — What Each One Does
 
 ### Transport (12) — Playback, tempo, global state, diagnostics
 
@@ -110,18 +110,21 @@ This turns "set EQ band 3 to -4 dB" into "cut 400 Hz by 4 dB, then read the spec
 - `velocity_deviation` — -127.0 to 127.0
 - `release_velocity` — 0.0-127.0
 
-### Devices (12) — Instruments, effects, racks
+### Devices (15) — Instruments, effects, racks, 12.3+ device insertion
 
 | Tool | What it does | Key params |
 |------|-------------|------------|
 | `get_device_info` | Returns device name, class, active state, all parameters | `track_index`, `device_index` |
-| `get_device_parameters` | Lists all parameters with values and ranges | `track_index`, `device_index` |
-| `set_device_parameter` | Sets a single parameter | `track_index`, `device_index`, `parameter_index`, `value` |
+| `get_device_parameters` | Lists all parameters with values, ranges, and `display_value` (12.2+) | `track_index`, `device_index` |
+| `set_device_parameter` | Sets a single parameter, returns `display_value` on 12.2+ | `track_index`, `device_index`, `parameter_index`, `value` |
 | `batch_set_parameters` | Sets multiple parameters at once | `track_index`, `device_index`, `parameters` (array) |
 | `toggle_device` | Enables/disables a device | `track_index`, `device_index` |
 | `delete_device` | Removes a device from the chain | `track_index`, `device_index` |
 | `load_device_by_uri` | Loads a device by browser URI | `track_index`, `uri` |
-| `find_and_load_device` | Searches browser and loads first match | `track_index`, `name` |
+| `find_and_load_device` | Searches browser and loads first match (uses `insert_device` fast path on 12.3+) | `track_index`, `name` |
+| `insert_device` | **12.3+** Insert native device by name — 10x faster than browser. Supports chain insertion for drum racks | `track_index`, `device_name`, `position`, `device_index`, `chain_index` |
+| `insert_rack_chain` | **12.3+** Add a chain to Instrument/Audio Effect/Drum Rack | `track_index`, `device_index`, `position` |
+| `set_drum_chain_note` | **12.3+** Assign MIDI note to a Drum Rack chain (C1=36 kick, D1=38 snare) | `track_index`, `device_index`, `chain_index`, `note` |
 | `get_rack_chains` | Lists chains in an Instrument/Effect Rack | `track_index`, `device_index` |
 | `set_simpler_playback_mode` | Switches Simpler mode (Classic/One-Shot/Slice) | `track_index`, `device_index`, `playback_mode` (0/1/2), `slice_by`, `sensitivity` |
 | `set_chain_volume` | Sets volume of a rack chain | `track_index`, `device_index`, `chain_index`, `volume` |
@@ -165,12 +168,13 @@ This turns "set EQ band 3 to -4 dB" into "cut 400 Hz by 4 dB, then read the spec
 | `search_browser` | Searches the browser | `query` |
 | `load_browser_item` | Loads a browser item onto a track — **`uri` MUST come from `search_browser` results, NEVER invented** | `track_index`, `uri` |
 
-### Arrangement (19) — Timeline, recording, cue points, arrangement notes
+### Arrangement (20) — Timeline, recording, cue points, arrangement notes
 
 | Tool | What it does | Key params |
 |------|-------------|------------|
 | `get_arrangement_clips` | Lists clips in arrangement view | `track_index` |
 | `create_arrangement_clip` | Duplicates session clip into arrangement at a beat position | `track_index`, `clip_slot_index`, `start_time`, `length` |
+| `create_native_arrangement_clip` | **12.1.10+** Creates native arrangement clip with full automation envelope support | `track_index`, `start_time`, `length`, `name`, `color_index` |
 | `add_arrangement_notes` | Adds MIDI notes to an arrangement clip | `track_index`, `clip_index`, `notes` |
 | `get_arrangement_notes` | Reads notes from an arrangement clip | `track_index`, `clip_index`, region params |
 | `remove_arrangement_notes` | Removes notes in a region of an arrangement clip | `track_index`, `clip_index`, region params |