mochi-avatar 1.0.0

package/dist/core/motion.js

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+/**
+ * A motion: the layer between idle and expression.
+ *
+ * ## Why this format exists now, having been refused twice
+ *
+ * The argument for not writing it was that a format designed against ONE
+ * motion set comes out shaped like that set. That was right, and it made the
+ * missing input sound external when it was not: the answer is to author a
+ * second motion, not to wait for one. So there are two below, deliberately
+ * unalike — `nod` is short, one-shot and postural; `sway` loops and moves her
+ * gaze. Everything here is a thing both of them needed.
+ *
+ * What that shook out, which one clip would not have:
+ *
+ *   - `loop`, because one of them does and one must not
+ *   - keys with OPTIONAL channels, because `nod` never touches gaze and a
+ *     format forcing it to write zeros would make every clip claim every
+ *     channel, and then "unset" and "zero" would be the same thing
+ *   - normalised time, because the two differ in duration by 6x and keys
+ *     written in milliseconds cannot be retimed without rewriting them all
+ *
+ * ## Four channels, and the mouth is not among them
+ *
+ * The layer order is idle -> motion -> expression -> mouth, and no layer may
+ * overwrite the mouth. A motion that could write `mouthOpen` would be able to
+ * hold her jaw shut while audio is playing, which reads as broken. The
+ * channels here are POSTURAL -- squash, lean, and where she is looking -- so
+ * the rule is a property of the vocabulary rather than something each clip has
+ * to respect.
+ */
+import { DRIFT } from './idle.js';
+/**
+ * Everything a motion is allowed to move. See the header.
+ *
+ * ## The three that were added, and why they are not more
+ *
+ * `squash`, `lean`, `gazeX`, `gazeY` are postural and could not express a
+ * character who goes anywhere: a hop with no vertical channel is a crouch, and
+ * a wander with no horizontal one is a lean. So:
+ *
+ * - `lift` — up, in fractions of her body HEIGHT. Positive leaves the ground.
+ * - `shift` — right, in fractions of her body WIDTH.
+ * - `turn` — -1..1, how far her features have slid toward one side.
+ *
+ * `turn` is NOT a rotation and cannot become one. One front-facing silhouette
+ * is drawn; there is no second view and no yaw. What it does is slide the
+ * features across the body, and everything is clipped to the silhouette
+ * already, so the far eye passes out of sight around her edge. That reads as
+ * turning to look at something and does not read as turning around. Anyone
+ * wanting the second thing has to draw her from behind, which is art rather
+ * than a channel.
+ *
+ * The mouth is still not among these, for the reason the header gives.
+ *
+ * ## Translation is a channel, not a window move
+ *
+ * `lift` and `shift` move her INSIDE her own window, and `paint` applies them
+ * by offsetting the origin every other coordinate is derived from -- so the
+ * outline, the features and the hit-test silhouette all travel together, and
+ * click-through keeps following her painted pixels for free.
+ *
+ * Moving the WINDOW was the alternative and is worse: `setPosition` from main
+ * on every frame of a renderer-driven animation is two processes disagreeing
+ * about where she is sixty times a second, which is the problem `drag.ts`
+ * already needs a cursor poll to solve.
+ */
+export const MOTION_CHANNELS = [
+    'squash',
+    'lean',
+    'gazeX',
+    'gazeY',
+    'lift',
+    'shift',
+    'turn',
+];
+/**
+ * How far through a clip we are, or null once a one-shot has finished.
+ *
+ * Null rather than 1: a finished one-shot contributes NOTHING, and holding its
+ * last key would leave her permanently leaning if a clip happened to end away
+ * from neutral. The caller stops mixing the layer in at all.
+ */
+export function progress(clip, elapsedMs) {
+    if (elapsedMs < 0)
+        return 0;
+    const raw = elapsedMs / clip.durationMs;
+    if (raw < 1)
+        return raw;
+    return clip.loop ? raw % 1 : null;
+}
+/**
+ * The pose at a moment, interpolated between the keys around it.
+ *
+ * Per CHANNEL, not per key. A key that omits `gazeX` is not saying "zero", it
+ * is saying nothing -- so the interpolation for that channel runs between the
+ * nearest keys that DO mention it, and a channel no key mentions is absent
+ * from the result. Blending toward an implied zero instead would make every
+ * clip fight every other layer over channels it never meant to touch.
+ */
+export function poseAt(clip, at) {
+    const pose = {};
+    for (const channel of MOTION_CHANNELS) {
+        const value = channelAt(clip.keys, channel, at, clip.loop);
+        if (value !== null)
+            pose[channel] = value;
+    }
+    return pose;
+}
+function channelAt(keys, channel, at, loop) {
+    const stated = keys.filter((key) => key[channel] !== undefined);
+    if (stated.length === 0)
+        return null;
+    const first = stated[0];
+    const last = stated[stated.length - 1];
+    if (first === undefined || last === undefined)
+        return null;
+    // HELD outside the stated range rather than fading to zero. A clip that
+    // mentions `lean` only in its second half is upright until then, not
+    // drifting toward upright from somewhere unspecified.
+    if (at <= first.t)
+        return first[channel] ?? null;
+    if (at >= last.t)
+        return last[channel] ?? null;
+    for (let i = 1; i < stated.length; i += 1) {
+        const before = stated[i - 1];
+        const after = stated[i];
+        if (before === undefined || after === undefined || after.t < at)
+            continue;
+        return hermite(stated, i, channel, at, loop);
+    }
+    return last[channel] ?? null;
+}
+/**
+ * A cubic through the keys, rather than a straight line between them.
+ *
+ * ## What linear interpolation actually looks like
+ *
+ * It was `a*(1-k) + b*k`, which is exact and correct and moves like a machine.
+ * Every key is a VELOCITY DISCONTINUITY: she travels at a constant speed to the
+ * key, changes speed instantaneously, and travels at another constant speed
+ * away from it. Nothing physical does that, and the eye reads the corners
+ * immediately -- reported, in as many words, as the motions being crude.
+ *
+ * This is Catmull-Rom, expressed as a Hermite with finite-difference tangents:
+ * the speed at each key is estimated from its NEIGHBOURS, so velocity carries
+ * through a key instead of restarting at it. The curve still passes exactly
+ * through every authored value, which is what keeps a clip an authored thing
+ * rather than a suggestion.
+ *
+ * ## Why not ease each segment instead
+ *
+ * A smoothstep per segment is one line and is wrong for half the library. It
+ * forces velocity to ZERO at every key, so `sway` -- which crosses zero at its
+ * midpoint on the way from one extreme to the other -- would stop dead in the
+ * middle of a continuous lean. Easing is a property of a segment; smoothness is
+ * a property of the curve, and the complaint was about the curve.
+ *
+ * ## Time is NON-UNIFORM, so the tangents are scaled by it
+ *
+ * Keys are placed where the motion needs them, not on a grid: `hop` has eight
+ * keys with gaps from 0.12 to 0.16, and `wander` has eleven. The textbook
+ * uniform Catmull-Rom assumes even spacing and produces a visible surge either
+ * side of a short segment. Dividing each difference by the real time it spans
+ * is what makes the curve independent of where the keys happen to sit.
+ *
+ * ## Loops wrap; one-shots do not
+ *
+ * A looping clip takes its neighbours from the other end, so the seam is as
+ * smooth as everywhere else -- otherwise `sway` and `wander` would kink once
+ * per cycle, forever, which is the defect the loop-closure check exists to
+ * prevent in its cruder form. A one-shot uses a one-sided difference at its
+ * ends, so it starts and finishes without being dragged by a key that is not
+ * there.
+ *
+ * Overshoot between keys is possible and is deliberate: it is what gives a
+ * landing its weight. `squashed` clamps the body scale, so the one channel
+ * where an overshoot could be structural is already bounded.
+ */
+function hermite(stated, index, channel, at, loop) {
+    const n = stated.length;
+    const value = (key) => key?.[channel] ?? 0;
+    const p1 = stated[index - 1];
+    const p2 = stated[index];
+    if (p1 === undefined || p2 === undefined)
+        return value(p2 ?? p1);
+    const span = p2.t - p1.t;
+    if (span <= 0)
+        return value(p2);
+    /*
+      The neighbour outside the segment, and how far away in time it is.
+  
+      For a loop that is the key at the other end, one period away — the first and
+      last keys hold the same value (the closure check enforces it), so the wrap
+      skips one of them to avoid a zero-length span that would make the tangent
+      infinite.
+    */
+    const before = index >= 2
+        ? { key: stated[index - 2], dt: p1.t - (stated[index - 2]?.t ?? 0) }
+        : loop && n >= 3
+            ? { key: stated[n - 2], dt: p1.t + (1 - (stated[n - 2]?.t ?? 1)) }
+            : null;
+    const after = index + 1 < n
+        ? { key: stated[index + 1], dt: (stated[index + 1]?.t ?? 1) - p2.t }
+        : loop && n >= 3
+            ? { key: stated[1], dt: 1 - p2.t + (stated[1]?.t ?? 0) }
+            : null;
+    // Finite differences over real time. With no neighbour the difference is
+    // one-sided, which is the segment's own slope — an end that neither
+    // accelerates into nothing nor is pulled by a key that does not exist.
+    const m1 = before === null || before.dt <= 0
+        ? (value(p2) - value(p1)) / span
+        : (value(p2) - value(before.key)) / (span + before.dt);
+    const m2 = after === null || after.dt <= 0
+        ? (value(p2) - value(p1)) / span
+        : (value(after.key) - value(p1)) / (span + after.dt);
+    const u = (at - p1.t) / span;
+    const uu = u * u;
+    const uuu = uu * u;
+    return ((2 * uuu - 3 * uu + 1) * value(p1) +
+        (uuu - 2 * uu + u) * span * m1 +
+        (-2 * uuu + 3 * uu) * value(p2) +
+        (uuu - uu) * span * m2);
+}
+/**
+ * A short agreement, and a long one that repeats.
+ *
+ * Two, and unalike on purpose -- see the header. They are also the only
+ * motions this app has, which is why `caps.supportsMotions` can finally be
+ * true: a backend claiming the capability with an empty library would be the
+ * flag lying, and `playMotion` would report success over a face that never
+ * moved.
+ */
+export const BUILT_IN_MOTIONS = {
+    // Down, past centre, and settle. The overshoot is what makes it read as a
+    // nod rather than as a lurch -- the same reason `spring.ts` is second order.
+    nod: {
+        durationMs: 620,
+        loop: false,
+        keys: [
+            { t: 0, squash: 0, lean: 0 },
+            { t: 0.28, squash: 0.1, lean: 0.05 },
+            { t: 0.62, squash: -0.04, lean: -0.02 },
+            { t: 1, squash: 0, lean: 0 },
+        ],
+    },
+    // A slow lean with her gaze trailing it, repeating. Nothing about her body
+    // returns to centre at the ends, because a looping clip whose first and last
+    // keys differ jumps every cycle.
+    sway: {
+        durationMs: 3800,
+        loop: true,
+        keys: [
+            { t: 0, lean: 0, gazeX: 0 },
+            { t: 0.25, lean: 0.06, gazeX: 0.18 },
+            { t: 0.5, lean: 0, gazeX: 0 },
+            { t: 0.75, lean: -0.06, gazeX: -0.18 },
+            { t: 1, lean: 0, gazeX: 0 },
+        ],
+    },
+    /**
+     * A small hop: crouch, launch, hang, land, settle.
+     *
+     * The ANTICIPATION is what makes it read as a jump rather than a twitch --
+     * she compresses before she leaves the ground, and lands compressed again.
+     * Squash and lift are deliberately out of phase: at the apex she is stretched
+     * (negative squash) and highest, and the two return to zero at different
+     * times so the landing has weight.
+     *
+     * `lift: 0.16` is about eleven pixels at her default size. Small on purpose
+     * -- this is a gesture, not a jump, and the room for it has to be reserved in
+     * her window before she can use it.
+     */
+    hop: {
+        // Quick and SHALLOW. This is a gesture, not a jump: she leaves the ground
+        // by about eight pixels at her drawn size, which is enough to read as a
+        // hop and not enough to read as her going anywhere.
+        durationMs: 460,
+        loop: false,
+        keys: [
+            { t: 0, squash: 0, lift: 0 },
+            // The crouch is FAST and the launch is faster: most of the clip is air.
+            { t: 0.14, squash: 0.1, lift: 0 },
+            { t: 0.26, squash: -0.05, lift: 0.045 },
+            { t: 0.44, squash: -0.02, lift: 0.085 },
+            { t: 0.62, squash: 0.015, lift: 0.042 },
+            { t: 0.72, squash: 0.085, lift: 0 },
+            { t: 0.86, squash: -0.025, lift: 0 },
+            { t: 1, squash: 0, lift: 0 },
+        ],
+    },
+    /**
+     * A pendulum: her body goes where it leans, repeating.
+     *
+     * The difference from `sway`, which is worth saying because they are easy to
+     * confuse: `sway` moves her GAZE and leaves her body where it is, and reads
+     * as attention wandering. This moves her body and leaves her gaze alone, and
+     * reads as contentment. Lean and shift are IN PHASE -- a pendulum travels the
+     * way it tilts, and putting them out of phase produces a body sliding out
+     * from under its own head.
+     */
+    swing: {
+        // Slow and shallow. A pendulum you notice is a pendulum you watch; this is
+        // meant to be seen out of the corner of an eye, so the travel is about four
+        // pixels either way on her drawn body.
+        durationMs: 3400,
+        loop: true,
+        keys: [
+            { t: 0, lean: 0, shift: 0 },
+            { t: 0.25, lean: 0.032, shift: 0.045 },
+            { t: 0.5, lean: 0, shift: 0 },
+            { t: 0.75, lean: -0.032, shift: -0.045 },
+            { t: 1, lean: 0, shift: 0 },
+        ],
+    },
+    /**
+     * Turning to look at something beside her, and coming back.
+     *
+     * Not a rotation -- see the note on `MOTION_CHANNELS`. The features slide
+     * toward one edge and the silhouette clips the far one, which is what a flat
+     * character turning looks like. The lean and the gaze go with it because a
+     * head that turns without the body reads as a glance, and a glance is what
+     * the gaze channel alone already does.
+     *
+     * One-shot, and it returns to zero: a turn that stayed turned would leave her
+     * facing away for the rest of the session, and there is no view of her from
+     * that angle to make it worth looking at.
+     */
+    turn: {
+        // A head turn is quick and the RETURN is slower than the going, which is
+        // what makes it read as looking at something rather than as scanning.
+        durationMs: 950,
+        loop: false,
+        keys: [
+            // Her face LEADS and TRAILS her body, which is how a head turn actually
+            // goes: the features start moving before the shoulders commit, and they
+            // are the last thing to come back. It also leaves a moment near the end
+            // where the lean is exactly zero and the turn is not, which is the only
+            // instant at which this channel can be measured on its own -- a clip
+            // whose channels all move together can only ever be tested as a whole.
+            { t: 0, turn: 0, lean: 0, gazeX: 0 },
+            { t: 0.12, turn: 0.22, lean: 0.012, gazeX: 0.12 },
+            { t: 0.26, turn: 0.4, lean: 0.03, gazeX: 0.26 },
+            { t: 0.58, turn: 0.39, lean: 0.034, gazeX: 0.28 },
+            { t: 0.82, turn: 0.24, lean: 0, gazeX: 0 },
+            { t: 1, turn: 0, lean: 0, gazeX: 0 },
+        ],
+    },
+    /**
+     * Wandering: a slow drift one way, a pause, and back.
+     *
+     * LONG and slow on purpose. Everything else in this app is built so she can
+     * be ignored -- click-through by default, a halo rather than a spinner -- and
+     * a companion who crosses your screen quickly is one you have to attend to.
+     * Eleven seconds for less than half a body width each way is movement you
+     * notice only if you look.
+     *
+     * The bob is on `lift` at twice the drift's frequency, so her step and her
+     * travel are not the same beat. Both return to zero at `t: 1`, which the
+     * loop-closure check enforces for every channel rather than for the one the
+     * author was thinking about.
+     *
+     * She leans INTO the direction of travel at the start of each leg and out of
+     * it at the end, which is what a body does when it starts and stops.
+     */
+    wander: {
+        durationMs: 9_000,
+        loop: true,
+        keys: [
+            { t: 0, shift: 0, lean: 0, lift: 0 },
+            { t: 0.1, shift: 0.03, lean: 0.018, lift: 0.006 },
+            { t: 0.2, shift: 0.065, lean: 0.012, lift: 0 },
+            { t: 0.3, shift: 0.085, lean: -0.01, lift: 0.006 },
+            { t: 0.38, shift: 0.09, lean: 0, lift: 0 },
+            { t: 0.5, shift: 0.072, lean: -0.018, lift: 0.006 },
+            { t: 0.62, shift: 0, lean: -0.018, lift: 0 },
+            { t: 0.74, shift: -0.065, lean: -0.012, lift: 0.006 },
+            { t: 0.84, shift: -0.078, lean: 0.014, lift: 0 },
+            { t: 0.94, shift: -0.03, lean: 0.018, lift: 0.005 },
+            { t: 1, shift: 0, lean: 0, lift: 0 },
+        ],
+    },
+};
+/**
+ * How far a clip takes her from where she stands, as fractions of her body.
+ *
+ * The room for a translation has to exist in her window BEFORE she uses it, or
+ * she walks into the edge of a transparent rectangle and is clipped by it. This
+ * is what `face.ts` reserves against, and it is derived from the keys rather
+ * than declared beside them: a number an author has to keep in step with the
+ * clip is a number that goes stale the first time somebody retimes it.
+ *
+ * `up` only, for `lift`. She hops; she does not sink through the floor, and
+ * reserving room below her would push her down inside her own window for a
+ * clearance nothing uses.
+ */
+export function motionReach(clip) {
+    let x = 0;
+    let up = 0;
+    for (const key of clip.keys) {
+        x = Math.max(x, Math.abs(key.shift ?? 0));
+        up = Math.max(up, key.lift ?? 0);
+    }
+    return { x, up };
+}
+/**
+ * The worst case across every built-in, PLUS the drift, which is what a window
+ * has to hold.
+ *
+ * The drift is continuous and additive -- she is always a little off her spot,
+ * and a clip starts from wherever that is rather than from centre. So the two
+ * reaches SUM: reserving only the clip's would clip her by a couple of pixels
+ * at whichever extreme the two happened to agree on, intermittently, which is
+ * the least debuggable kind of wrong.
+ */
+export function builtInReach() {
+    let x = 0;
+    let up = 0;
+    for (const clip of Object.values(BUILT_IN_MOTIONS)) {
+        const reach = motionReach(clip);
+        x = Math.max(x, reach.x);
+        up = Math.max(up, reach.up);
+    }
+    return { x: x + DRIFT.shift, up: up + DRIFT.lift };
+}
+/**
+ * Turn something off disk into a clip, or say what is wrong with all of it.
+ *
+ * A package may carry motions, so this is a trust boundary and takes the same
+ * treatment `parseFaceSpec` gets: every problem reported at once
+ * rather than the first, unknown keys refused rather than dropped, and every
+ * number range-checked -- `t: 5` and `squash: 400` are both valid JSON numbers
+ * that throw nothing and produce a mochi somewhere off the screen.
+ *
+ * The ordering and loop-closure rules are checked HERE rather than trusted,
+ * because `poseAt` is written against them: keys out of order make the
+ * interpolation pick the wrong pair, and a loop whose ends differ jumps once
+ * per cycle for as long as it plays.
+ */
+export function parseMotionClip(value) {
+    const problems = [];
+    if (typeof value !== 'object' || value === null || Array.isArray(value)) {
+        return { ok: false, problems: ['a motion must be a JSON object'] };
+    }
+    const source = value;
+    const durationMs = source['durationMs'];
+    if (typeof durationMs !== 'number' || !Number.isFinite(durationMs) || durationMs <= 0) {
+        problems.push('durationMs must be a positive number of milliseconds');
+    }
+    const loop = source['loop'];
+    if (typeof loop !== 'boolean')
+        problems.push('loop must be true or false');
+    for (const key of Object.keys(source)) {
+        if (!['durationMs', 'loop', 'keys'].includes(key)) {
+            problems.push(`${key} is not a field of a motion`);
+        }
+    }
+    const rawKeys = source['keys'];
+    if (!Array.isArray(rawKeys)) {
+        problems.push('keys must be a list');
+        return { ok: false, problems };
+    }
+    // TWO, not one. A single key is a pose rather than a motion, and it would
+    // interpolate against nothing -- which reads as the clip having failed.
+    if (rawKeys.length < 2)
+        problems.push('a motion needs at least two keys');
+    const keys = [];
+    for (const [index, raw] of rawKeys.entries()) {
+        if (typeof raw !== 'object' || raw === null || Array.isArray(raw)) {
+            problems.push(`keys[${String(index)}] must be an object`);
+            continue;
+        }
+        const entry = raw;
+        const t = entry['t'];
+        if (typeof t !== 'number' || !Number.isFinite(t) || t < 0 || t > 1) {
+            problems.push(`keys[${String(index)}].t must be between 0 and 1`);
+            continue;
+        }
+        const key = { t };
+        for (const [name, channelValue] of Object.entries(entry)) {
+            if (name === 't')
+                continue;
+            if (!MOTION_CHANNELS.includes(name)) {
+                // Refused, not dropped: `squahs` silently ignored shows its author a
+                // motion that plays and does nothing they asked for.
+                problems.push(`keys[${String(index)}].${name} is not a channel a motion may move`);
+                continue;
+            }
+            if (typeof channelValue !== 'number' || !Number.isFinite(channelValue)) {
+                problems.push(`keys[${String(index)}].${name} must be a finite number`);
+                continue;
+            }
+            if (channelValue < -1 || channelValue > 1) {
+                // Bounded because these feed body scale and gaze. 400 is a legal
+                // number that draws a mochi nobody can see.
+                problems.push(`keys[${String(index)}].${name} must be between -1 and 1`);
+                continue;
+            }
+            key[name] = channelValue;
+        }
+        keys.push(key);
+    }
+    for (let i = 1; i < keys.length; i += 1) {
+        if ((keys[i]?.t ?? 0) < (keys[i - 1]?.t ?? 0)) {
+            problems.push('keys must be in order of t');
+            break;
+        }
+    }
+    if (loop === true && keys.length >= 2) {
+        const first = keys[0];
+        const last = keys[keys.length - 1];
+        if (first !== undefined && last !== undefined) {
+            for (const channel of MOTION_CHANNELS) {
+                if ((first[channel] ?? 0) !== (last[channel] ?? 0)) {
+                    // A looping clip whose ends differ jumps once per cycle, forever.
+                    problems.push(`a looping motion must end where it began (${channel} differs)`);
+                }
+            }
+        }
+    }
+    if (problems.length > 0)
+        return { ok: false, problems };
+    return {
+        ok: true,
+        clip: { durationMs: durationMs, loop: loop, keys },
+    };
+}
+//# sourceMappingURL=motion.js.map

package/dist/core/motion.js.map

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package/dist/core/mouth.d.ts

@@ -0,0 +1,93 @@
+/**
+ * The single writer to her mouth.
+ *
+ * One object owns `setMouthOpen`, and that is the whole point rather than a
+ * tidiness preference. The mouth is layer 4 and is written last, so nothing
+ * above it can arbitrate between two sources -- two writers produce a mouth
+ * flickering between them at whatever rate they happen to disagree, and no
+ * layer ordering can fix it.
+ *
+ * ## Where the viseme path goes
+ *
+ * The mouth has two paths and they are not a ladder: cloud speech-to-speech
+ * carries no phoneme timings, so the envelope is the only thing available
+ * there, not a fallback. The five-vowel path belongs to a local TTS front end,
+ * whose G2P stage produces timings for free.
+ *
+ * There is deliberately no second implementation and no factory to choose
+ * between them YET. Nothing emits phoneme timings on the current road and
+ * `MochiAvatar.caps.visemes` is false, so a `VisemeMouth` would be an
+ * abstraction over one caller and a capability nobody can satisfy. When a
+ * provider reports `phonemeTimings`, it arrives as a second class behind this
+ * same interface and the choice is made ONCE -- by picking an object, never by
+ * a flag read inside a callback, which would be a branch in every frame and a
+ * place for the wrong path to be taken.
+ *
+ * ## The gate is THREE conditions, not one
+ *
+ * When that day comes, the precise path requires all of:
+ *
+ *   1. the provider emits phoneme timings,
+ *   2. the backend can render visemes (`caps.visemes`), and
+ *   3. THE LOADED MODEL carries every one of the five vowel presets.
+ *
+ * The third is the one that gets dropped, and it is the expensive one. VRM's
+ * vowel presets are optional per model, so a capable backend can load a model
+ * carrying none: routing on caps alone sends weights nowhere and leaves the
+ * mouth shut mid-word, intermittently, with every flag reporting success. RMS
+ * over the whole utterance is visibly better than four fifths of a mouth.
+ *
+ * mochi locked all three into `canUseVisemes()` in shared/avatar.ts. It is not
+ * ported here because there is nothing yet to call it -- port it together with
+ * the second driver, not before.
+ */
+import type { AvatarBackend } from './vocabulary.js';
+import { type EnvelopeSettings } from './envelope.js';
+/** Only the part of the backend a mouth driver is allowed to touch. */
+export type MouthSink = Pick<AvatarBackend, 'setMouthOpen'>;
+export interface MouthDriver {
+    /**
+     * The loudness of what is sounding right now, and how long since the last
+     * call. Driven from the render loop, after every other layer.
+     */
+    observe(level: number, dtSeconds: number): void;
+    /** The turn ended, or she was interrupted. Shuts the mouth immediately. */
+    end(): void;
+}
+/**
+ * The RMS path.
+ *
+ * Driven once per rendered frame rather than per audio callback. Under a peer
+ * connection her voice is a remote MediaStream the browser plays itself -- no
+ * PCM reaches this process at all -- so the level arrives by sampling an
+ * analyser, which is naturally a per-frame operation. At 60Hz that is a 16ms
+ * sampling interval against a ~4Hz syllable rate, which is ample.
+ */
+export declare class EnvelopeMouth implements MouthDriver {
+    private readonly avatar;
+    private readonly settings;
+    private state;
+    constructor(avatar: MouthSink, settings?: EnvelopeSettings);
+    observe(level: number, dtSeconds: number): void;
+    /**
+     * Whether the envelope currently judges the signal to be speech.
+     *
+     * The one place anything outside the rig should ask that question. Reading it
+     * here rather than re-deriving it from a level means the mouth and the
+     * "is she still talking" decision can never disagree -- and they did, when
+     * the caller compared a raw RMS against a constant while this compared a peak
+     * against a learned floor.
+     */
+    get speaking(): boolean;
+    /**
+     * Shut, and forget the level -- but KEEP the learned floor and peak.
+     *
+     * The references are what make the envelope level-independent, and they are
+     * properties of this voice on this connection, not of this turn. Discarding
+     * them at every turn boundary would make her first syllable back a
+     * recalibration, which is visible: the mouth either slams or sits closed
+     * while the estimate catches up.
+     */
+    end(): void;
+}
+//# sourceMappingURL=mouth.d.ts.map

package/dist/core/mouth.d.ts.map

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