mirror of
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midi2taud: --force-synth-loop
This commit is contained in:
minjaesong
211
terranmon.txt
211
terranmon.txt
@@ -2775,112 +2775,111 @@ TODO:
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[x] Ixmp version 2, supporting per-patch ADSR
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For UI concerns, taut_instredit.js will take care of it (aka problem for later)
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[x] .sf2 import module (for generic use, including "Import instrument from soundfont" and midi2taud conversion)
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[x] Midi2Taud using .mid and .sf2 as input, trim unused samples and Ixmp patches
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[x] .sf2 specific resample handling
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1. If length exceeds 65535 samples, calculate resampling.
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2. If calculated resampling >= 32000, use that.
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3. If not, resample at 32000. If there is no loop defined, then loop the last 8192 samples (converter SHOULD NOT take that number at face value; perform waveform analysis to derive a smoother loop; converter MAY use that number as a starting number) and modify the fade value such that it decays to zero after 10 or so seconds of firing.
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[x] Faithful .sf2 "release segment": Set NNA to 'Note Fade' (incl. drumkits), and make sure Volume Fadeout to have a correct number derived from the SF2 timecent unit (it seems SF2 defines envelope floor as 100 dB; needs check)
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* DONE 2026-06-14. Floor CONFIRMED 100 dB (sfspec24.txt:1934-1941: releaseVolEnv ramps a constant 100 dB per its timecent value, "until 100dB attenuation were reached"). midi2taud.py now: (a) byte 186 NNA = Note Fade (0b11) for every instrument incl. drum kits (was melodic Key-Lift 0b100000 / drum Continue 0b10); (b) the vol-env no longer carries a release leg — it ENDS at the sustain node and the engine holds there on key-off (AudioAdapter.kt:1697-1701 holds a non-zero terminator, doesn't cut); (c) Volume Fadeout (base bytes 172-173 AND per-patch Ixmp 'x' block) = the release segment, fade_sec = releaseVolEnv·(1000−sus_cb)/1000 (the sustain-level → 100 dB-floor time), fadeStep = 2560/(fade_sec·bpm0) so the linear fade completes in that wall-clock time. Per-patch 'x' now also emits when only the release differs (faithful per-layer release). The engine's Key-Lift feature is unchanged (still used by KeyLiftTest); midi2taud simply stopped emitting it. See _zone_fadeout / _adsr_to_env in midi2taud.py.
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[x] SF2 filter still sounds way too muffled?
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[x] Drum notes get eaten (E2M1.mid)
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* DONE 2026-06-14. Root cause: midi2taud ignored SF2 exclusiveClass (gen 57). SGM's
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STANDARD 1 puts the closed/pedal/open hi-hats (keys 42/44/46) in class 1; without the
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choke the open hi-hat's multi-second tail (≈4.9 s) washes over the whole beat and
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buries the other hits. FluidSynth kills same-class voices on note-on
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(fluid_synth_kill_by_exclusive_class → fluid_voice_kill_excl, a fast −2000-timecent
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release ≈ 0.3 s). Fix in two parts: (a) midi2taud.py parses gen 57, and per drum
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channel chokes each note at the next same-class onset — emitting the new fast-fade
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note 0x0004 (apply_exclusive_class + emit_cells pass 2b; allocate_voices holds the
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choked voice foreground until the choke); (b) the engine implements note 0x0004
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(startFastFade): a ~0.3 s note-fade while the sample keeps playing, distinct from
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^^CUT's hard stop. Headless coverage: devtests/ixmp/FastFadeTest. Verified on
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E2M1 (open hat no longer rings >0.3 s; crashes, not in a class, still ring out).
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[ ] midi2taud: toggleable option for disabling filter for percussions [default: on]
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- Anything on bank 127 and 128 (usually asso siated with ch 10)
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- GeneralMIDI instruments 113..128
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[x] midi2taud: instrument fadeout (release) is significantly longer than Fluidsynth
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* DONE 2026-06-14. _zone_fadeout (midi2taud.py) now scales fade_sec by
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_RELEASE_PERCEPTUAL_SCALE = 0.25, bringing the fadeout in line with FluidSynth's perceived
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release. fadeStep comes out ~4× larger (faster fade). I kept the IT/FT2 engine path untouched
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— it's shared, byte-faithful tracker behaviour and must stay linear-amplitude; the
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compensation belongs on the encoder side. 0.25 targets the ~−22 dB "release ended" point.
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If you find sustained pads now cut a touch short (their long tails are more noticeable),
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nudging it toward 0.30–0.35 lengthens the tail without returning to the old over-long
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behaviour.
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[x] auto-set optimal-ish Tickspeed and RPB using MIDI Time Signature events and note analysis. Break pattern when Time Signature changes.
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* DONE 2026-06-14. midi2taud.py now parses the time-signature meta event (FF 58) and
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auto-sets the grid by DEFAULT (--rpb/--speed default to auto; passing one pins that
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axis and auto-fits the other, pass both to override). auto_timing() picks F = rpb·speed
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fine-ticks/beat to (a) represent the finest onset subdivision actually used
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(_detect_subdivision: smallest 1/D-of-quarter grid covering >=95% of note onsets,
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D in {1,2,3,4,6,8,12,16}), (b) keep every tempo inside the Taud BPM register [25,280],
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and (c) anchor at the proven 24-fts/beat grid (smallest multiple of D that is >=24), so
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plain material reproduces the old speed 6 / rpb 4. Lexicographic key: init-tempo-fits >
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fewest-clamped-tempos > prefer-rpb-4 (rows = beats×rpb, so rpb caps pattern count;
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speed is "free" sub-row + tempo precision) > closeness-to-F_want > exact-grid > near
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speed 6. Verified rpb4/speed6 on Onestop / E1M1 / E2M1 / flourish / keep_on_rolling /
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pokemon-theme. RPB bump (final step, both axes auto only): a bend-heavy (>=24 non-centre
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bend events AND >=0.25/note) OR many-polyphony (peak simultaneous notes >= 10) song with
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rpb < 8 gets rpb doubled / speed halved (F=rpb·speed, hence tempo, UNCHANGED) up to rpb 8,
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so more rows host key-offs / chokes / bend-G / channel-M and fewer are eaten by same-row &
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per-cell-slot collisions. Guarded by a cue/pattern-budget estimate so it can't flip a long
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dense song into a hard error (pin --rpb 4 to opt out). Measured on Onestop: key-offs
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absorbed 1856→1574, bend segments 266→552. All six demo MIDIs are dense → rpb8/speed3.
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Pattern breaking: plan_cues() breaks a cue at every time-sig change and
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packs each section into whole-bar cues (largest multiple of the bar length that fits in
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64 rows) via the LEN cue instruction (constant 4/4 still = 64-row cues; 7/8 flourish =
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56-row cues; mid-song change starts the new section on a fresh cue). The project-data
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sMet block gets Primary beat division = rows per NOTATED beat (the time-sig denominator,
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= round(rpb·4/2^dpow): 4 for x/4, 2 for x/8 — always a divisor of the bar so the highlight
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stays bar-aligned; rpb=rows-per-quarter would drift on 7/8 since 14%4!=0) and Secondary =
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rows per bar, so the tracker's bar/beat highlight lines up. sMet notation = 120 (12-TET;
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MIDI is 12-TET) — REQUIRED now that taut.js honours notation on load (the taud_common
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default 0 = "Raw format" would show hex note numbers). build_pattern_bin now takes
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(cue_starts, cue_lens) instead of a flat 64-row chunking.
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taut.js side: loadTaudSongList now reads beat_pri/beat_sec from sMet (were skipped) into
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songsMeta.songs[i]; applySongBeatDiv() + applySongPitchPreset() apply per-song beat
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divisions AND notation/pitch-preset on BOTH initial open and switchSong (initial open
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previously left both at the 4/16 + 12-TET defaults — the latent pitch-preset gap is now
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closed too). Only midi2taud emits sMet; the other 2taud converters omit it → 12-TET default.
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[x] Taut UI commit
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- Inst > Gen.1 > sample binding: ~~~....[two doubledots] et al. (n extra samples)
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- Inst > Gen.2 > filter: IT/SF mode toggle (which also need to redefine slider range and their writebacks as IT takes 8-bit and SF takes 16-bit values)
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- Samples playblobs: only active for actually playing samples
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- Samples playcursor: true cursors for actually playing samples
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[x] implement note-fade (0x0003) and wire it to it2taud
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* DONE 2026-06-14. Engine: note word 0x0003 sets voice.noteFading (IT CHN_NOTEFADE,
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Schism effects.c:1505-1509) — the instrument's own activeFadeoutStep drives
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fadeoutVolume to 0 in the line ~3676 fade path while sustain loop + vol envelope
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keep running; no applyKeyLift (sustain kept), no rate override (unlike fast fade
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0x0004); a zero fadeout rings on, matching IT. Honours sub-row S$Dx delay (delayed
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dispatch L3453). it2taud: IT_NOTE_FADE (246) now emits NOTE_NOTEFADE (0x0003)
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instead of collapsing to key-off; NOTE_NOTEFADE added to taud_common.py.
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[x] taut.js quit with TypeError: Cannot read property 'terminatorIdx' of undefined:
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TypeError: Cannot read property 'terminatorIdx' of undefined
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at drawEnvelopeCursor (<eval>:5312:22)
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at drawInstrumentsContents (<eval>:4919:41)
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at Object.onClick (<eval>:4984:17)
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at dispatchMouseEvent (<eval>:6275:53)
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at <eval>:6633:13
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at Object.withEvent (<eval>:1168:27)
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at _tvdosExec$microtone$tvdos$bin$taut$js (<eval>:6632:11)
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at execApp (<eval>:1457:16)
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at Object.execute (<eval>:893:38)
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at <eval>:867:31
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[x] Timbres of Heaven's Overdriven Gt decays EXTREMELY SLOWLY even after the fix
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* DONE 2026-06-15. Root cause (engine). Overdriven Gt becomes a 4-layer Metainstrument.
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Layer children inherit the parent's key-off only via the per-tick background-voice sync
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(AudioAdapter.kt:3782), which requires parent.active. With a fast fadeout (fo=1067 = 1-tick
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cut), the foreground voice deactivates in the same tick KEY_OFF fires — before the sync runs —
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so the children were detached as orphans that never picked up the release and kept looping at
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the ~0.70 sustain until the next note. That's the "extremely slow decay"/ringing tail, and it's
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ToH-specific because ToH leans on multi-layer presets with short releases.
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Fix (AudioAdapter.kt, inactive-parent branch): inherit parent.keyOff/noteFading before
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detaching, mirroring the existing active-branch. parent.keyOff survives deactivation and is
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reset on retrigger, so a true value means this note was released. A parent that ended naturally
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(no release) still leaves the child to finish on its own.
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[ ] Some ways to decouple Sample+Inst and patterns into separate files (tsvm-doom needs separate file access; samplepack can be uploaded once on init)
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[x] Midi2Taud using .mid and .sf2 as input, trim unused samples and Ixmp patches
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[x] .sf2 specific resample handling
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1. If length exceeds 65535 samples, calculate resampling.
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2. If calculated resampling >= 32000, use that.
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3. If not, resample at 32000. If there is no loop defined, then loop the last 8192 samples (converter SHOULD NOT take that number at face value; perform waveform analysis to derive a smoother loop; converter MAY use that number as a starting number) and modify the fade value such that it decays to zero after 10 or so seconds of firing.
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[x] Add option to force this behaviour for samples with loops that are far beyond the 64k limit (e.g. Timbres of Heaven)
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* DONE 2026-06-15. Added `--force-synth-loop`
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[x] Faithful .sf2 "release segment": Set NNA to 'Note Fade' (incl. drumkits), and make sure Volume Fadeout to have a correct number derived from the SF2 timecent unit (it seems SF2 defines envelope floor as 100 dB; needs check)
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* DONE 2026-06-14. Floor CONFIRMED 100 dB (sfspec24.txt:1934-1941: releaseVolEnv ramps a constant 100 dB per its timecent value, "until 100dB attenuation were reached"). midi2taud.py now: (a) byte 186 NNA = Note Fade (0b11) for every instrument incl. drum kits (was melodic Key-Lift 0b100000 / drum Continue 0b10); (b) the vol-env no longer carries a release leg — it ENDS at the sustain node and the engine holds there on key-off (AudioAdapter.kt:1697-1701 holds a non-zero terminator, doesn't cut); (c) Volume Fadeout (base bytes 172-173 AND per-patch Ixmp 'x' block) = the release segment, fade_sec = releaseVolEnv·(1000−sus_cb)/1000 (the sustain-level → 100 dB-floor time), fadeStep = 2560/(fade_sec·bpm0) so the linear fade completes in that wall-clock time. Per-patch 'x' now also emits when only the release differs (faithful per-layer release). The engine's Key-Lift feature is unchanged (still used by KeyLiftTest); midi2taud simply stopped emitting it. See _zone_fadeout / _adsr_to_env in midi2taud.py.
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[x] SF2 filter still sounds way too muffled?
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[x] Drum notes get eaten (E2M1.mid)
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* DONE 2026-06-14. Root cause: midi2taud ignored SF2 exclusiveClass (gen 57). SGM's
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STANDARD 1 puts the closed/pedal/open hi-hats (keys 42/44/46) in class 1; without the
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choke the open hi-hat's multi-second tail (≈4.9 s) washes over the whole beat and
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buries the other hits. FluidSynth kills same-class voices on note-on
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(fluid_synth_kill_by_exclusive_class → fluid_voice_kill_excl, a fast −2000-timecent
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release ≈ 0.3 s). Fix in two parts: (a) midi2taud.py parses gen 57, and per drum
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channel chokes each note at the next same-class onset — emitting the new fast-fade
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note 0x0004 (apply_exclusive_class + emit_cells pass 2b; allocate_voices holds the
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choked voice foreground until the choke); (b) the engine implements note 0x0004
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(startFastFade): a ~0.3 s note-fade while the sample keeps playing, distinct from
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^^CUT's hard stop. Headless coverage: devtests/ixmp/FastFadeTest. Verified on
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E2M1 (open hat no longer rings >0.3 s; crashes, not in a class, still ring out).
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[x] midi2taud: instrument fadeout (release) is significantly longer than Fluidsynth
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* DONE 2026-06-14. _zone_fadeout (midi2taud.py) now scales fade_sec by
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_RELEASE_PERCEPTUAL_SCALE = 0.25, bringing the fadeout in line with FluidSynth's perceived
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release. fadeStep comes out ~4× larger (faster fade). I kept the IT/FT2 engine path untouched
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— it's shared, byte-faithful tracker behaviour and must stay linear-amplitude; the
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compensation belongs on the encoder side. 0.25 targets the ~−22 dB "release ended" point.
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If you find sustained pads now cut a touch short (their long tails are more noticeable),
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nudging it toward 0.30–0.35 lengthens the tail without returning to the old over-long
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behaviour.
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[x] auto-set optimal-ish Tickspeed and RPB using MIDI Time Signature events and note analysis. Break pattern when Time Signature changes.
|
||||
* DONE 2026-06-14. midi2taud.py now parses the time-signature meta event (FF 58) and
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auto-sets the grid by DEFAULT (--rpb/--speed default to auto; passing one pins that
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||||
axis and auto-fits the other, pass both to override). auto_timing() picks F = rpb·speed
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||||
fine-ticks/beat to (a) represent the finest onset subdivision actually used
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(_detect_subdivision: smallest 1/D-of-quarter grid covering >=95% of note onsets,
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D in {1,2,3,4,6,8,12,16}), (b) keep every tempo inside the Taud BPM register [25,280],
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and (c) anchor at the proven 24-fts/beat grid (smallest multiple of D that is >=24), so
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||||
plain material reproduces the old speed 6 / rpb 4. Lexicographic key: init-tempo-fits >
|
||||
fewest-clamped-tempos > prefer-rpb-4 (rows = beats×rpb, so rpb caps pattern count;
|
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speed is "free" sub-row + tempo precision) > closeness-to-F_want > exact-grid > near
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speed 6. Verified rpb4/speed6 on Onestop / E1M1 / E2M1 / flourish / keep_on_rolling /
|
||||
pokemon-theme. RPB bump (final step, both axes auto only): a bend-heavy (>=24 non-centre
|
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bend events AND >=0.25/note) OR many-polyphony (peak simultaneous notes >= 10) song with
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rpb < 8 gets rpb doubled / speed halved (F=rpb·speed, hence tempo, UNCHANGED) up to rpb 8,
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so more rows host key-offs / chokes / bend-G / channel-M and fewer are eaten by same-row &
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per-cell-slot collisions. Guarded by a cue/pattern-budget estimate so it can't flip a long
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dense song into a hard error (pin --rpb 4 to opt out). Measured on Onestop: key-offs
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absorbed 1856→1574, bend segments 266→552. All six demo MIDIs are dense → rpb8/speed3.
|
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Pattern breaking: plan_cues() breaks a cue at every time-sig change and
|
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packs each section into whole-bar cues (largest multiple of the bar length that fits in
|
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64 rows) via the LEN cue instruction (constant 4/4 still = 64-row cues; 7/8 flourish =
|
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56-row cues; mid-song change starts the new section on a fresh cue). The project-data
|
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sMet block gets Primary beat division = rows per NOTATED beat (the time-sig denominator,
|
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= round(rpb·4/2^dpow): 4 for x/4, 2 for x/8 — always a divisor of the bar so the highlight
|
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stays bar-aligned; rpb=rows-per-quarter would drift on 7/8 since 14%4!=0) and Secondary =
|
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rows per bar, so the tracker's bar/beat highlight lines up. sMet notation = 120 (12-TET;
|
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MIDI is 12-TET) — REQUIRED now that taut.js honours notation on load (the taud_common
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default 0 = "Raw format" would show hex note numbers). build_pattern_bin now takes
|
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(cue_starts, cue_lens) instead of a flat 64-row chunking.
|
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taut.js side: loadTaudSongList now reads beat_pri/beat_sec from sMet (were skipped) into
|
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songsMeta.songs[i]; applySongBeatDiv() + applySongPitchPreset() apply per-song beat
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divisions AND notation/pitch-preset on BOTH initial open and switchSong (initial open
|
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previously left both at the 4/16 + 12-TET defaults — the latent pitch-preset gap is now
|
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closed too). Only midi2taud emits sMet; the other 2taud converters omit it → 12-TET default.
|
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[x] Taut UI commit
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- Inst > Gen.1 > sample binding: ~~~....[two doubledots] et al. (n extra samples)
|
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- Inst > Gen.2 > filter: IT/SF mode toggle (which also need to redefine slider range and their writebacks as IT takes 8-bit and SF takes 16-bit values)
|
||||
- Samples playblobs: only active for actually playing samples
|
||||
- Samples playcursor: true cursors for actually playing samples
|
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[x] implement note-fade (0x0003) and wire it to it2taud
|
||||
* DONE 2026-06-14. Engine: note word 0x0003 sets voice.noteFading (IT CHN_NOTEFADE,
|
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Schism effects.c:1505-1509) — the instrument's own activeFadeoutStep drives
|
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fadeoutVolume to 0 in the line ~3676 fade path while sustain loop + vol envelope
|
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keep running; no applyKeyLift (sustain kept), no rate override (unlike fast fade
|
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0x0004); a zero fadeout rings on, matching IT. Honours sub-row S$Dx delay (delayed
|
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dispatch L3453). it2taud: IT_NOTE_FADE (246) now emits NOTE_NOTEFADE (0x0003)
|
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instead of collapsing to key-off; NOTE_NOTEFADE added to taud_common.py.
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[x] taut.js quit with TypeError: Cannot read property 'terminatorIdx' of undefined:
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TypeError: Cannot read property 'terminatorIdx' of undefined
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at drawEnvelopeCursor (<eval>:5312:22)
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at drawInstrumentsContents (<eval>:4919:41)
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at Object.onClick (<eval>:4984:17)
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at dispatchMouseEvent (<eval>:6275:53)
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at <eval>:6633:13
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at Object.withEvent (<eval>:1168:27)
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at _tvdosExec$microtone$tvdos$bin$taut$js (<eval>:6632:11)
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at execApp (<eval>:1457:16)
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at Object.execute (<eval>:893:38)
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at <eval>:867:31
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[x] Timbres of Heaven's Overdriven Gt decays EXTREMELY SLOWLY even after the fix
|
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* DONE 2026-06-15. Root cause (engine). Overdriven Gt becomes a 4-layer Metainstrument.
|
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Layer children inherit the parent's key-off only via the per-tick background-voice sync
|
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(AudioAdapter.kt:3782), which requires parent.active. With a fast fadeout (fo=1067 = 1-tick
|
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cut), the foreground voice deactivates in the same tick KEY_OFF fires — before the sync runs —
|
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so the children were detached as orphans that never picked up the release and kept looping at
|
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the ~0.70 sustain until the next note. That's the "extremely slow decay"/ringing tail, and it's
|
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ToH-specific because ToH leans on multi-layer presets with short releases.
|
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Fix (AudioAdapter.kt, inactive-parent branch): inherit parent.keyOff/noteFading before
|
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detaching, mirroring the existing active-branch. parent.keyOff survives deactivation and is
|
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reset on retrigger, so a true value means this note was released. A parent that ended naturally
|
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(no release) still leaves the child to finish on its own.
|
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[ ] Some ways to decouple Sample+Inst and patterns into separate files (tsvm-doom needs separate file access; samplepack can be uploaded once on init)
|
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TODO - list of demo songs that MUST ship with Microtone:
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* 4THSYM (rename to Fourth Symmetriad) — excellent piece for demonstrating NNAs and filter envelopes
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