Vance IngallsandClaude Opus 5
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Mixing was the one audio surface no skill covered: the effect chain, automation lanes and the voiceover carve existed with no guidance, so an agent had the attributes and none of the judgement for using them. The skill teaches the carve as what it is — a relationship between two tracks, wired like a sidechain, with the settings on the bed naming the voice — and routes the effect families by the problem each solves rather than listing parameters. It ships scripts/carve.mjs because a skill teaching a feature agents cannot operate is not much of a skill: the analysis needs decoded PCM, and the only other way in is clicking a Studio panel. Same core functions and same decode rate, so headless output and panel output are the same three attributes. It finds the voice and the bed itself — names first, then by ear, measuring how much of each track is quiet, since a voice stops between phrases and a bed does not — and refuses rather than guessing when two tracks are too close to call. References carry the full registry with which parameters can actually be automated (the four worklet effects expose none, so a lane on one is silently inert) and the exact JSON of the three attributes. Counts, catalogues and the core-skill manifest updated in lockstep; the pinning test in skillsManifest is what caught the two surfaces the maintenance checklist in CLAUDE.md does not name. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
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The three audio attributes
All three go on the <audio> / <video> element itself, JSON-encoded, so a
composition carries its whole mix in the HTML with nothing to load beside it.
Nothing static validates them: preview plays an unreadable chain dry to stay
workable, and the render refuses the whole mix rather than shipping a dry track
that sounds plausible and is wrong.
data-fx-chain — the effects
{
"version": 1,
"nodes": [
{ "type": "highpass", "id": "n1", "params": { "frequency": 120, "q": 0.707, "poles": "2" } },
{ "type": "peaking", "id": "n2", "fromCarve": true, "params": { "frequency": 1600, "gain": -6, "q": 1.4 } },
{ "type": "limiter", "id": "n3", "enabled": false, "params": { "limit": -1, "attack": 5, "release": 50, "level_out": 0 } }
]
}
- Order is signal order. Each node processes what the one before produced.
typeis an effect id from the registry.paramsare in the units a person thinks in — dB, ms, Hz — and out-of-range values are clamped on read, so a chain that parses is always safe to realise.idis a stable handle. Automation addresses nodes by id, never by position, so reordering the chain cannot re-point a lane at a different effect. A node with no id loads fine but cannot be automated. Writing a chain by hand, any unique string works; Studio hands out the first freen1,n2, … so matching that convention keeps a hand-written chain and an edited one looking alike.enabled: falseis bypass — the node stays in the chain, out of the signal path. Absent means enabled.fromCarve: truemarks a node the carve analysis generated. Re-running the carve replaces exactly these and leaves hand-built effects alone. Do not set it by hand: a node tagged this way will be deleted by the next carve.
data-automation — the envelopes
{
"version": 1,
"lanes": [
{ "target": "volume", "points": [{ "t": 0, "v": 1 }, { "t": 2.5, "v": 0.4 }] },
{ "target": "fx.n2.gain", "points": [{ "t": 0, "v": 0 }, { "t": 1, "v": -6, "curve": 0.4 }] }
]
}
targetisvolumefor the track's own level, orfx.<nodeId>.<param>.tis seconds from the start of the clip, not of the composition. A bed starting atdata-start="8"hast: 0at composition time 8.vis in the parameter's own unit: dB for a gain, Hz for a frequency, 0..1 for volume.- A lane holds its first value backwards to the start of its clip and its last
value forward to the end. So a bed that begins before the voice needs an
explicit "no cut" point at
t: 0, or it starts out already ducked. curve(-1..1) bends the segment leaving a point: positive holds low then rises late.viaX/viaYname an interior point the segment passes through (progress 0..1, value travelled 0..1) and supersedecurvewhen both are present — that is what the timeline writes when a bend is dragged.- 512 points per lane, maximum.
- A lane whose node is gone is pruned on read rather than erroring.
A lane on a non-automatable parameter is silently inert. Automation is
delivered as native AudioParam scheduling, so a knob that no AudioParam backs
cannot move: worklet processor options, a WaveShaper curve and a convolution
impulse are all set wholesale. fx-registry.md marks each parameter; the four
worklet effects (compressor, limiter, gate, bitcrush) have none at all.
data-fx-carve — the carve's settings
{ "source": "narration", "strength": 0.35, "dynamic": true }
sourceis the element id of the voice track to listen to. It lives on the bed being processed, not on the voice.strength0..1 derives the whole mechanism (seecarveProfile).dynamicfollows the voice moment to moment instead of holding one depth.
This attribute is not read at playback — the chain and lanes it produced are what play. It exists so the settings can be read back and re-derived rather than guessed from the filters, which is what makes changing strength on an existing carve possible.
Older projects may carry the six mechanism numbers (maxCutDb, bands, q,
intelligibilityBias, duckDb, headroomDb) instead of strength. They still
load: the depth maps back onto a strength and everything else is re-derived.