Two halves of one defect family. The meta line preferred the queue item's
artist/album fields as a PAIR whenever either existed — but a library play
(playAlbum) writes only `artist`, with the record's name living inside
`sub` ("artist — album"), so `album: null` was taken at face value and
every library album lost its name from the bar (and the morning comment
claiming local rows carry neither field was simply wrong). Each half now
falls back to the `sub` split on its own, here and in the rail's byline —
which also restores the album for continuation items whose `sub` is a
bare artist.
And the line no longer trickles in: the buffering branch used to render
the artist alone, so the album flashed in a beat after the title when
playback started. The status gate is replaced by a REAL distinction — a
resolver-phase track has no `path` (playQueueIndex always writes one), so
"finding best source…" still shows as a bare label, and the moment a real
queue item owns the transport the full clickable line renders, buffering
or not. Measured: the first frame carrying the new title already carries
artist · album; no artist-only frame exists.
Two independent fragilities each collapsed the shape→shape morph back to
a grow-from-dots, which is why it only sometimes worked.
The hold was 600ms against an arrival whose timing is DECODE time: the
same track costs ~5ms once the session holds its waveform in memory but
hundreds of ms to over a second on the first cold decode. 2000ms covers
the cold case with room; fresh-stream searches take well past that, so
the loading story still gets the lane.
And the hold bailed on a bar-count mismatch — but the lane's width follows
the song TITLE now, so switching between a long and a short name resizes
the lane mid-gap and the guard threw the held shape away. Held and morphed
heights are refitted to the new count instead (nearest neighbour — it is a
moving start point, on screen for under a second).
Four consecutive cached switches measured after the fix: minimum lane
height 15.1 on every one (dots are ~2, the old dip hit ~5). Gapless
playback is untouched — the hold and morph are pure painting, and the
sink-append path never waits on the lane.
The arrival morph honestly started from whatever the lane showed — and on
a track change the lane always showed dots, because the waveform empties
the moment the queue moves. Every switch therefore played the same
grow-from-zero, when the picked motion was one waveform transforming into
another.
A track change now HOLDS the outgoing shape for ARRIVE_HOLD_MS (600ms),
painted in unplayed grey since the new track owns the transport. A quick
arrival — a local file, a cached stream — lands inside the hold and the
morph runs directly from the old bars into the new ones; a slow stream
load falls to the dots-and-swell story when the hold expires, exactly as
before. The rail mirrors the hold with the same shared constant, and
suppresses the loading swell while holding so the keyframes cannot fight
the held heights.
Measured across a cached track switch: the lane's mean height never left
16.9-17.4 (the dots sit at 2, the old dip hit 5.2) while the per-column
fingerprint changed — the shape transformed without ever falling.
Chosen on waveform-arrive.html (M2, direct morph, 1000ms): when a track
has its whole waveform at once — a local file, a fully-cached stream, or
the final decode replacing a stream's progressive peaks — every bar eases
from whatever the lane currently shows straight into the new shape, all
together. From the resting dots that reads as a uniform grow; from a
mid-sweep swell or the previous track's bars it is literally one waveform
transforming into another. The streaming rise keeps its left-to-right
story untouched; the morph fires only on a peaks swap at coverage 1, and
never on a resize, which re-lays the same shape and stays instant.
The canvas keeps a record of what it actually painted last frame — dots,
swell, rise, morph or settled — so the morph always starts from the truth
on screen, and the fade colours (accent, boundary blend, hover wash) stay
live through it. The rail mirrors the motion in CSS: an `arriving` class
carries the same 1000ms house-ease height transition, placed after the
rise rule so a stream's final decode arrives on this ease too.
Measured live on a cached start: bar heights walked 5.2 → 8.2 → 10.6 →
12.3 → 13.6 → 14.6 → 15.0 and settled at 15.1 at the 1000ms mark — the
ease-out curve, frame by frame.
The source chips are gone — the rail already tells that story — and with
them the measured slot, its effects, and the bar's only container query.
The now-playing cluster hugs the song name with no cap, giving ground only
once the scrubber hits its 260px floor; the artist's 55% ceiling applies
only when an album sits beside it, so a lone loading artist no longer
renders as two letters in a twelve-pixel box.
The waveform is rebuilt on honesty. WAVE_BUCKETS rises 400 → 2000 (~128ms
per bucket — at 400, every display bar was ~2s of audio averaged twice),
and one shared shaping in waveshape.js replaces both lanes' gain-into-clamp
rule, which flat-topped 53.8% of the bars on a real decode and was propped
up by per-bar noise in the rail — deleted; the lane shows the record, not a
hash of the bar index. Bars fold with a mean+peak blend and stretch across
the track's own p05–p97, so a loud master stops pinning to the ceiling and
a quiet one stops vanishing.
The playbar copies the rail's fade verbatim: whole bars blend accent→grey
with cuts landing in the 4px gap, and the one bar under the playhead
crossfades toward whatever its neighbours are — the wash while hovering,
the muted grey otherwise. The redraw gate watches that blend instead of a
0.75px playhead move, so both lanes now step on every position event.
Loading is drawn, not implied: the solid fallback bar is gone and the lane
is always the bars, always seekable. Empty, it rests as the rail's dots; a
swell crosses them while a waveform is computed (2s sweep, 0.5s rest); a
streaming track's bars stand up left→right on a 40ms cadence, each rising
over 2s. The rise frontier is the waveform's OWN coverage, reported by
stream_waveform beside the peaks — the old contract zero-padded partial
peaks to full length and let the UI fold them against a fresher byte
count, which stretched the whole shape between refreshes. Where the bars
end is how much of the track has actually loaded; cached and local tracks
arrive at coverage 1 and pop in complete. The first partial is also
requested eagerly (fresh refresh clock per track, 700ms retries until
peaks exist), closing most of the audio-before-lane gap.
88px becomes 62px and the two stacked rows become one. The 26px goes back to
the content area on every screen, and the scrubber stops capping at 560px while
the flanks stretch — a 1900px window used to put a small waveform adrift in the
middle of an empty bar.
The cover is 40x40 at 12px of padding, which lands its centre on x=40: the
column every sidebar cover and nav icon already shares, and which the sidebar
holds through its entire collapse. It was 56px at 16px, centre x=52 — twelve
pixels out of a column the app is otherwise strict about.
The waveform is drawn as discrete bars on the Now Playing rail's exact pitch, a
2px bar on a 4px gap with a 1px radius, both deriving their count from that one
pitch so neither can drift from the other. Mirrored here, where the lane is
short and wide; the rail stands its bars on the floor because it sits above a
caption. The standing white playhead went with it — at this pitch it read as a
seam through the bars, and the accent's own leading edge marks the position.
Artist and album share one line as "Artist · Album", the `.who` idiom from the
album page rather than a new one. They are read from the queue item's OWN
artist/album fields now: `sub` is a display convenience that the album
continuation fill writes as a bare artist while carrying the album right
alongside, so a record played straight through lost its album name from the
second track on. When the line must shrink the ALBUM shrinks — proportional
shrinking turned a short artist into "Po…", which saves nothing and reads as
nothing.
New: the source line. Who is sending this track, how much has arrived, how fast
and how long is left, then the format. Four states, derived exactly as
NowPlaying derives its status line — two surfaces disagreeing about whether a
track is cached would be worse than either being wrong. A library file reports
NOTHING, because it has no peer and no transfer and zeroes would read as a
stalled one. It sits in its own slot rather than inside the meta cluster:
sharing that budget let a live transfer readout crowd the artist and album down
to "Po… · Terrestria…". Its width is measured per STATE and never per value, so
a ticking percentage and a counting-down ETA move nothing.
The now-playing panel toggle is gone from the shelf — the panel carries its own
collapse control, and two ways to do one thing is one too many. What replaces it
is a single overflow menu, so landing lyrics, a mini player and output switching
later costs no width; those three are present and disabled, marked SOON, rather
than wired to nothing.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The preview backend never received a volume — clips played at the crate
default (0.7) regardless of the slider, even muted. The session now sets
the preview volume from the app store (mute → 0) before the first load and
mirrors it live while the modal is open; the debug overlay's PREVIEW row
exposes the backend's resting volume as proof.
The player-bar volume (and fallback seek) fill is now always the accent
color — matching the waveform scrubber's played region — stepping up to
the hover shade on hover instead of white-until-hover.
Also syncs package-lock to the soulstream name + alpha version.
The previous .git directory was found gutted (only info/ remained), so
history is unrecoverable locally. This commit restores version control
with the tree exactly as it stands: the working app, the preview-tracks
launcher on the artist hero, the scrollable-track-previews design bundle
(docs + approved mockups), and the Phase 0 validation artifacts.
KeelrLeek