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Vance IngallsandClaude Opus 5
072040b4e5
Bass, middle and treble is the most widely understood audio control there is, which makes it the right answer for an author who would never reach for a parametric filter. It also removes a real failure: without it, a chain shaping two ranges holds two peaking filters that look identical in the rack. Built the way the carve is — one module owning several tagged nodes rather than a new effect type. Three bands ARE a low shelf, a peaking and a high shelf, so there is nothing new in the graph, nothing new in the render, and an author who opens the details finds exactly the filters they could have added by hand. That shape is also forced: the registry's parameters are a flat key/value record, so an `eq` effect TYPE carrying N bands would need array-shaped params it has no way to express. Two band sets. Three is Bass/Middle/Treble. Five opens to Bass/Warmth/Middle/Clarity/Air, named from the shared vocabulary the rest of the rack uses, so reaching for the EQ is also how the words get learned. The chain is authoritative, not a cached band list: an author can open the details and move a frequency by hand, and the faders read it back rather than overwriting it on the next drag. The fader is held to ±12 dB while the filters themselves allow ±40 — a tone control that can bury a track under 40 dB of bass is not a tone control. `fromEq` joins `fromCarve`, `fromPreset` and `label` through the parser and serializer, so an EQ survives the attribute round trip. Without that the module cannot find its own bands after a reload and silently becomes loose filters. Fourteen tests, falsified against four mutations: the parser dropping fromEq, the fader re-seeding the whole band (which would lose a hand-set frequency), the ±12 clamp removed, and two EQs sharing an id. Core 1690 -> 1704. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>