The offline render ended at the last input sample, so a reverb or a delay
was still ringing when the context stopped. Measured on a 1.5 s tone
through a default reverb, the render cut at 1.524 s while the tail was
still at -29.7 dB — an audible chop, and the one place the render did not
match preview.
The length does not have to be guessed. Every tail here follows from its
own settings: a convolution is exactly as long as its impulse, and
`synthesizeReverbImpulse` derives that from room size; a delay's repeats
fall by `feedback` every `time`, so the count down to -60 dB is a log.
Everything else settles with its input — an all-pass chain has group
delay, not a tail, and a 9-second compressor release has no signal to
release once the clip stops.
`chainTailSeconds` sums them (the chain is serial, so a delay in front of
a reverb hands each repeat to the room), reads a lane's maximum rather
than the static knob where one is automated, and caps at 5 s — 5 s
between repeats at 0.95 feedback is eleven minutes of decay, and the
panel can dial exactly that.
The mixer's per-track atrim now allows the clip plus its tail; the atrim
after apad still holds every track to the composition's length, so a tail
can run over what follows but never extends the video.
Same fixture after: a smooth decay to -72 dB, last non-zero sample at
3.306 s against the 3.4 s the settings predict.
Adds the data model behind Ableton-style automation lanes: breakpoint
envelopes over track volume or one knob of one effect in the track's FX
chain, stored on the element as `data-automation`.
Times are clip-local, so an envelope travels with the clip when it moves —
the clip-envelope model rather than arrangement automation.
`sampleAutomationLane` is the single interpolator. The lane drawing, the
preview scheduler and the render bake all call it, so the picture and the
sound cannot disagree about the curve. Log-scaled parameters interpolate in
log space, matching what their own knob already promises.
FX nodes gain a stable `id`, minted by count rather than randomly so the
document is the same on every machine. Lanes address nodes by id, so
reordering a chain never re-points a lane at a different effect, and a lane
whose effect was deleted is dropped rather than left to reattach.
Also warns when a track carries both a volume lane and a GSAP volume tween,
since only the lane is heard and the tween silently does nothing.
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
Finds the bands a voice occupies so a music bed can be dipped there, letting
the voice sit in front without ducking the whole track.
Carve is a relationship between two tracks rather than an effect on one, so it
stays out of the FX chain. What it emits is an ordinary chain of peaking
filters, so a carve composes with whatever else is on the track and needs no
separate rendering path.
Selection is weighted toward intelligibility rather than raw voice energy.
Ranking purely by power lands on the fundamental almost every time, because
that is where a voice is loudest — but the masking that actually hurts a
voiceover happens higher up, and dipping 160 Hz mostly just thins the bed. The
bias is a control, not a constant: at 0 it follows raw energy, at 1 it weights
toward 1-3 kHz.
Ranking happens in dB, which matters more than it looks. Speech spreads 20-30 dB
across these bands — it falls off roughly 6 dB per octave above the fundamental
— so a weighting has to be on that scale to move anything at all. A
multiplicative weight of `1 - bias + bias * shaped` is bounded below by
`1 - bias`, capping its influence at 10*log10(1/(1 - bias)): 5.2 dB at the 0.7
default, 3 dB at 0.5. That is no influence against a real voice — every bias
short of ~0.95 would rank exactly like bias 0 and carve the fundamental, the
outcome the bias exists to prevent, while looking decisive against a fixture
whose bands sit 2 dB apart. So the bias is a dB penalty, zero at 2 kHz and worth
up to 30 dB at full strength, and relative cut depths come from a dB difference
rather than a ratio of weighted linear powers.
The bias reweights ranking without overriding the spectrum — a band the voice
has no energy in is not worth carving, and scores -Infinity rather than
competing — so a strongly low-pitched voice can still select low at full bias.
What the tests hold is that biasing never selects lower than the unbiased
ranking, that the DEFAULT bias reaches the presence region on a voice with a
realistic tilt, and that bias 0 still follows raw power exactly.
Includes a radix-2 FFT rather than a dependency; one Welch-style averaged
spectrum over third-octave bands does not justify pulling in a DSP library.
Reads `data-fx-chain` off an audio element and runs the chain over the trimmed
WAV before volume automation is baked in — effects should see the raw signal,
and the envelope belongs on their output.
The processing happens in an OfflineAudioContext inside the headless browser
the engine already drives, running the same graph builders the studio previews
with. That is the point of the approach: one implementation per effect, so the
render agreeing with the preview is a property of the architecture rather than
a tolerance to police. Reimplementing each effect as an FFmpeg filter would
mean two implementations to keep in step, and for the dynamics processors and
modulated delays there is no filter that behaves the same way.
`build:audio-fx-runtime` bundles the graph builders into an injectable IIFE,
following the same pattern as the existing runtime artifacts, so the browser
runs exactly the code the studio does.
The page loads from a file:// URL rather than about:blank because AudioWorklet
is only exposed in a secure context — the compressor, limiter, gate and
bitcrush processors would otherwise fail to register with an opaque error.
file:// qualifies and needs no listening socket.
The chain is serialised into the attribute the way colour grading carries its
config, so there is no side-car file to resolve or lose.
An FX failure is fatal for the whole mix rather than a per-track soft failure.
Every other audio failure mode degrades gracefully — the track drops, siblings
continue — but substituting the dry signal for a processed one ships a render
that sounds plausible and is not what the author set up. Since the per-element
work races under Promise.all, an internal AbortController chained off the
caller's signal aborts in-flight siblings before workDir is removed.
One declarative description of every effect that can be applied to an audio
track: fourteen across filters, dynamics, non-linear and time, each exposing
its full parameter surface rather than a curated subset.
Parameters carry the range, step, unit and scale a control needs, so a panel
can generate its UI from this rather than hard-coding a form per effect, and a
value that survives `normalizeAudioFxParams` is always safe to realise.
Everything is declared in the units a person thinks in — dB, ms, Hz.
Parsing rejects an unknown effect id rather than skipping the node. A chain
that quietly loses an effect renders something other than what was authored,
which is worse than refusing to load it.
Data only: no audio is produced here. The graph that realises each effect is
referenced by the `web` id and lands in the next change, which keeps this
module free of browser globals so the engine and the linter can import it.
Adds the Studio (browser) binding so a canary can span the CLI and the editor,
and fixes a bundling mistake the studio test suite caught.
## The binding
Same public API as the CLI — `isCanaryEnabled("name")` — so a call site reads
identically whether it runs in Node or the browser. Three inputs differ:
- UNIT ID: `resolveStudioDistinctId()`, which already adopts
`window.__HF_CLI_DISTINCT_ID` when the CLI launched Studio. A CLI-launched
Studio therefore lands in the SAME cohort as the CLI: a rollout spanning
render and editor is coherent for that user instead of enrolling their
terminal but not their editor. A test pins that the id is passed through
unmodified — prefixing or re-hashing it would silently break that parity.
- OVERRIDE: no `process.env` in a page, so `?hf_canary_<name>=on` mirrored
into sessionStorage. Session scope is deliberate. A URL is the right carrier
(shareable — "support: open this link"), but persisting a URL-borne override
to localStorage would let one click silently pin a browser into a cohort
forever, long after anyone remembers why. Closing the tab is the reset;
`=reset` clears it explicitly.
- EXCLUSION: `navigator.webdriver` stands in for the CLI's `is_ci`. Automated
browsers mint a fresh localStorage id per run, so they would hop cohorts
between runs — noise in the signal, nothing learned about real users. An
override still reaches them, which is how you test a canary under Playwright.
Studio's `trackEvent` now attaches `canaries` to every event, mirroring the CLI.
## The bundling fix
Importing the `@hyperframes/core` barrel into studio browser code broke two
unrelated hook test files with an esbuild TextEncoder invariant violation. The
barrel re-exports the whole core surface (parsers, lint, studio-server), so it
drags a Node-oriented dependency graph into a browser bundle — the test
failure was the symptom, the bundle bloat was the bug.
`@hyperframes/core` now exposes `./canary` and `./canary-registry`, declared in
packages/core/package-subpaths.json (the generated source of truth for exports —
hand-editing package.json is reverted by the sync script) and marked
`environments: [browser, bun, node]`. Both the studio AND cli bindings import
the leaf modules; the CLI gets the same benefit for a different reason, since
this resolves on the startup path — the reason the producer is lazily loaded.
Verified: the two hook files pass again; 269 studio files / 2982 tests, 98
core / 1433, 166 cli / 2194 green, `bun run lint` clean including the subpath
check. Fault-injection confirms both design decisions are pinned — swapping
session for local storage fails the scope test, prefixing the unit id fails the
CLI/Studio cohort-parity test.
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
Vance Ingalls