Monorepo for Aesthetic.Computer
aesthetic.computer
notepat: harp loudness + sustain + Shift-pluck; whistle low-octave fix
Audio (audio.c):
- Harp: stretch 0.996 → 0.9985 (T60 ~15s at A4 — true pedal-harp
sustain). Output gain 1.0 → 2.5× to match perceived loudness of
sine/triangle. Karplus-Strong's circulating amplitude is heavily
attenuated by the LPF + stretch each cycle, so raw output is much
quieter than oscillators at the same `volume`.
- Harp short-pluck variant: when caller passes decay in (0, 0.2),
stretch drops to 0.990 → ~0.4s damp. Lets notepat trigger a tight
staccato when Shift is held (no Karplus-Strong code branching, just
picks a smaller stretch coefficient).
- Whistle: clamp the freq floor 110Hz → 30Hz so the bottom notepat
octave (C1≈33Hz, C2≈65Hz, A2=110Hz) actually plays at pitch instead
of all bass notes silently snapping to A2.
Notepat (pieces/notepat.mjs):
- Shift+letter on harp: pass duration=0.4 + decay=0.1 to trigger the
short-pluck path. Other waves keep their existing infinite-hold.
- Wave-row label switches "harp" → "pluck" while Shift is held — first
pass at surfacing the alternate-mode UI the user asked for.
Co-Authored-By: Claude Opus 4.7 (1M context) <noreply@anthropic.com>
+42
-12
+18
-5
fedac/native/pieces/notepat.mjs
+18
-5
fedac/native/pieces/notepat.mjs
···
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compositeVoices: [a, b, c, d, e2],
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}, system, 1);
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} else {
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+
// Shift+letter on harp = short staccato pluck. Pass decay=0.1 as
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// a signal to the C generate_harp_sample (which switches to a
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// tighter stretch factor and damps in ~0.4s). Finite duration
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// so the voice naturally ends without needing kill().
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const isShortPluck = wave === "harp" && shiftHeld;
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synth = sound.synth({
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type: wave, tone: playFreq, duration: Infinity,
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-
volume: 0.5, attack: currentAttack(), decay: currentDecay(), pan,
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type: wave, tone: playFreq,
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duration: isShortPluck ? 0.4 : Infinity,
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volume: 0.5,
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attack: currentAttack(),
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decay: isShortPluck ? 0.1 : currentDecay(),
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pan,
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});
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rememberSound(hitNote.key, { synth, note: hitNote.letter, octave: hitNote.octave, baseFreq: freq }, system, 1);
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}
···
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ink(dark ? 40 : 190, dark ? 40 : 190, dark ? 45 : 195);
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box(bx, waveRowY, 1, waveRowH, true);
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}
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-
// Label
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const lx = bx + Math.floor((btnW2 - waveLabels[i].length * 6) / 2);
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write(waveLabels[i], { x: lx, y: waveRowY + 3, size: 1, font: "font_1" });
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// Label — switch "harp" → "pluck" while Shift is held to surface
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// the alternate short-pluck mode. The active button also gets a
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// subtle bracket marker so it's obvious from the keyboard.
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let label = waveLabels[i];
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if (wavetypes[i] === "harp" && shiftHeld) label = "pluck";
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const lx = bx + Math.floor((btnW2 - label.length * 6) / 2);
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write(label, { x: lx, y: waveRowY + 3, size: 1, font: "font_1" });
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}
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// Octave / REC button (right side)
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fedac/native/src/audio.c
+24
-7
fedac/native/src/audio.c
···
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// Bore and jet delay lengths — bore = SR/freq (one wavelength),
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// jet = 0.32 × bore (Cook's flute ratio; 0.45 for pennywhistle,
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// 0.5 for ocarina). Clamp to the delay buffer sizes.
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-
double freq = clampd(v->frequency, 110.0, sample_rate * 0.20);
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+
// Allow the full notepat pitch range — C1 ≈ 33Hz, so clamp at 30Hz
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// so we don't lose the bottom octave. On sample rates where SR/freq
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+
// exceeds the bore buffer (BORE_N=2048, fine at 48kHz; caps around
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// 94Hz at 192kHz), the bore_delay clampd below pins the delay to the
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// buffer size — the worst case is that very low notes play slightly
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+
// sharper than requested on 192kHz hardware. Still better than the
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// previous 110Hz hard-clamp which silenced every low octave.
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double freq = clampd(v->frequency, 30.0, sample_rate * 0.20);
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double bore_delay = sample_rate / freq;
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double jet_delay = bore_delay * 0.32;
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// Cap to buffer sizes with safety margin
···
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// Stretch factor S (Jaffe-Smith EKS). S < 1 makes the circulating
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// pattern decay exponentially. With the two-point LPF ≈ unity at DC,
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// the per-cycle loss is dominated by S: amplitude ≈ S^(f·t) per second.
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// S = 0.996 gives T60 ≈ 4s at 440Hz — longer for bass strings, shorter
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// for high strings, matching real string behavior.
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double decayed = filtered * 0.996;
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// S = 0.9985 gives T60 ≈ 15s at 440Hz — long sustain like a real
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// pedal harp letting the string ring out. Higher pitches still fade
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// faster than bass strings (matches physics of real strings).
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//
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// "Short pluck" variant: when the caller passes decay > 0 (notepat
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// does this for Shift+letter), shorten the stretch factor so the
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+
// string dies in ~0.4s — feels like a damped/staccato pluck.
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double stretch = (v->decay > 0.0 && v->decay < 0.2) ? 0.990 : 0.9985;
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double decayed = filtered * stretch;
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// Write back to close the delay loop.
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v->whistle_bore_buf[v->whistle_bore_w] = (float)decayed;
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v->whistle_bore_w = (v->whistle_bore_w + 1) % STRING_N;
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-
// Envelope applies mainly to key-up fade. Attack is instantaneous —
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// the pluck is the initial noise burst already in the delay line.
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-
return decayed * env;
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+
// Output gain — Karplus-Strong's circulating amplitude is heavily
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+
// attenuated by the LPF + stretch each cycle, so raw output is much
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+
// quieter than sine/square at the same `volume`. Boost by 2.5× so a
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// plucked note feels comparable in loudness to other wave types.
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// Envelope still controls key-up fade; attack is instantaneous (the
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+
// initial noise burst IS the pluck).
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return 2.5 * decayed * env;
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}
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// ============================================================