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Vance IngallsandClaude Opus 5
a533d16775
Twenty named starting points across four shelves — voice, repair, character, space — so an author who wants "Telephone" does not have to know it is two stacked filter pairs, a honk band, a de-mud band and a soft clip. A preset is DATA. Applying one writes ordinary nodes into `data-fx-chain`, the same nodes hand-building would produce, so there is no second code path beside the rack, nothing new in the render, and no failure mode the chain does not already have. Only the parameters a preset means are listed; the rest come from `normalizeAudioFxParams`, which keeps each entry readable as an intent. `fromPreset` joins `fromCarve` on the node — the id rather than a flag, because a chain can carry more than one preset and each has to find its own nodes. Applying appends (stacking Telephone onto a cleaned voice is a real thing to want), re-applying replaces that preset's own nodes IN PLACE so it keeps its position in the signal order, and hand-added effects are never touched. The repair shelf is named for what it does. None of it is noise reduction — that needs spectral work this effect set does not have — so "Quiet Between Phrases" says it closes the pauses and leaves room tone under speech, rather than implying a denoiser the author only discovers is absent after trusting it. The tests check the DATA, not just the machinery: every effect real, every parameter declared, every value inside its own range, every enum a real option, every chain round-tripping through the attribute, and every preset that lifts level bounded by a limiter that is actually last. Falsified against four mutations — a gain past its maximum, an enum the effect does not offer, an undeclared parameter, and a limiter moved off the end — each caught with the preset and parameter named. Core 1670 -> 1688. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>