Every rendered still links to the app frame that produced it (song + seed + frame + venue/viz pins + probe warm-up, new window), via shared src/ui/preview.js. Supporting work, each measured: app honors ?frame/?venueSel/?viz/?warm= with pre-build pins (Show.applyPins) and primes deep-link loads; shared pinViz/pinVenueShell paths for gallery, filmstrip and app; probes prime and carry their warm-up; bank probes analyse the bank PCM and file decode is fixed-rate with bit-exact WAV parsing so app and probes see identical samples; materials built mid-update compile synchronously (needsCompile). Round trip verified bit-identical gallery-versus-app.
The tests now run on real bank entries. The seed gates used to run on a
two-section synthetic whose only kinds were intro and outro, so half the scene
library was unreachable and the number was measuring that rather than the seed.
Probes are labelled by section kind and occurrence rather than by index, which
is what makes two different songs comparable at all — they have different
section counts, so probe 3 of one is not probe 3 of the other, and matching by
position would compare a drop against an outro and score the mismatch as
variety. For two seeds of one song the labels are identical and this changes
nothing, which is the point.
The song test measures one thing the seed test does not: coupling, the rank
correlation between how different two tracks sound and how different their
videos look. Separation alone can be had by a generator that ignores the audio
and hashes the file, and that would be a perfect score for a completely wrong
video. Separation without coupling is not variety, it is a different seed per
file.
The ceiling took two more attempts. Recasting every layer at random averages a
dozen scenes together and a dozen random scenes converge on the same generic
busy image, so two references came out closer to each other than two real
videos and blocks scored over 100% of achievable. Forcing one scene per
reference collapsed the other way: a video that never changes scene has almost
no internal variation, so the ceiling landed BELOW the floor, which is a
within-video quantity. A reference has to match the structure of what it bounds.
They now keep the real pipeline — rosters, shots, per-section sampling, so a
reference rotates between three or four scenes exactly as a real video does —
while drawing from disjoint slices of the library. Same complexity, nothing in
common.
The fingerprint measurement had the same shape of error: pooling every probe
mixed in how much each video varies over its own length, which is large for
everything, and washed the answer to a flat 100% while the separation score said
almost everything was collapsed. One vector per video now.
Both tests fail as committed. Seed separation 0.04, song separation 0.03,
coupling -0.03 — two different songs differ from each other by about as much as
one video differs from itself, and that difference has no relationship to the
music. Colour scores 112%.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Two complaints, one cause: stages were flat blocks and the noise bed was glued
to the pad level, so the bed was a constant hiss under a track that never went
anywhere.
Sections have contours now — rise, fall, swell, dip, surge — sampled per note
rather than per stage, so a build builds through its chords instead of stepping
between two flat halves. The noise gets its own per-stage level instead of
following the pad, which makes it an arrangement element: a riser through a
build with its filter sweeping up, a wash under a drop, nearly absent in a
breakdown. That is also the better test signal, since the segmenter classifies a
section partly on its energy slope and a build that does not build is one it has
to guess at.
Transition hardness is a per-song axis. Genres differ on this more than they
differ on tempo — an ambient record dissolves between its sections and a club
record cuts — and until now every song in the bank cut. Soft songs crossfade
across a couple of bars; the hardest get the pre-drop trick, where everything
stops for most of a beat before the loud stage lands. Five soft, three mid, nine
hard, and the builder fails if the bank ever loses either end.
The contours immediately broke the axis they were layered onto: section-to-
section contrast is dynamic range, so adding it put a floor of 0.50 under a
statistic that had reached 0.18. That is what compression IS, so contour depth
now scales with the track's dynamics — a limitered master has shallow section
contrast as well as a shallow crest. Back to 0.29, which is as low as enveloped
notes and hard cuts will go.
One regression accepted rather than fixed: the soft fades cost the beatless
entries their tempo detection, since the attack that gave a drone a pulse is
exactly what a crossfade removes. `drone` reads 170bpm for a 62bpm source. A
beatless track has no tempo and the detector is guessing either way; `ember`
exists to anchor the low end with a beat that is actually there.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Completes the bank whose first half went in with the scene commits. The
remaining work was all in what "covered" means.
Two axis ranges were wrong, and being wrong made the coverage report lie in
both directions. Loudness is a raw mean spectral magnitude, not a normalised
0..1, so every song read as 0.00 and the axis looked dead. Centroid is mapped
to a log frequency axis, so a track of nothing but sub-bass and a 55Hz pad
still measures 0.28 and pure hiss measures 0.93 — against a nominal [0,1] the
bank would have reported a permanent 50% gap that no synth change could close.
Both now carry the range the statistic can really take on, with the reason.
Spread on every axis is not coverage of the space, so the tool also measures
correlation between axes. It immediately found brightness and noisiness moving
together at r=0.95: noise colour had been tied to brightness, one axis wearing
two names, leaving the dark-and-noisy quadrant unreachable. Noise colour is now
its own parameter — hiss over a sub-bass pad is an ordinary record.
That got r to 0.94, and no further. Flatness is the geometric mean of the
spectrum over its arithmetic mean across the whole band, so a signal only
measures flat if it has energy everywhere, which is the same thing as measuring
bright; band-limiting the noise to hold the centroid down empties the top and
drops the flatness with it. It is a property of the analyser and real material
does the same, so it is allowlisted with its reason. Anything not on that list
still fails — the check is there to catch a bank that has collapsed, not to
relitigate physics every run.
The output is gitignored. It is 172MB of deterministic audio derived from a
table that will keep changing: rebuild it, do not carry it.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Three lessons worth more than the scenes: a slow axis has to move a large
low-frequency area or the camera's own drift beats it, whole-frame luminance on
the kick is the strobe the flash gate exists for and it arrives by accident, and
a style trait expressed only as grain measures as no style at all.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Halftone Misprint is a printing fault rather than an electronic one — the image
is never damaged, only separated and reassembled out of register, and nothing
else in the library is made of dots. Droste Feedback scales the previous frame
where Time Smear translates it, so the image never clears. Analog Wow is the
continuous, wet counterpart to Scan Tear and Block Mosh: the error varies
smoothly down the frame because every line was written at a different moment.
Three things that had to be got right. The halftone ruling is a count of dots
across the frame, not a pixel pitch, or a 4K export is the same dot on a bigger
sheet. The Droste loop has to CONTRACT — expanding pushes every copy off the
edge and leaves a plume instead of a corridor. And all three expressed style
only through grain at first, which is the Side Quest 1 complaint: they now put
the track's line weight and edge softness into the dot, the ring and the band
boundary, taking the measured style response from 24/11/18 to 86/255/88.
Neither feedback scene declares a slow axis, with the numbers recorded in the
files: their own history moves the ten-second average further than any parameter
does.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Dejvino