ad2c912b710476c5cd4cef7c700c6e1f7e4040b0
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Commits
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 KeelrLeek
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ad2c912b71 | release: 1.2.0-alpha | ||
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KeelrLeek
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50414dae5c | playlists + player: every service's list through one door with its names matched for real, and shuffle that readies exactly what it promises | ||
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KeelrLeek
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30eb6fe025 | release: 1.1.0-alpha | ||
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KeelrLeek
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1dd8573808 | dj sets + lyrics: a mix that names its own tracks, and words pulled off the separated voice | ||
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KeelrLeek
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4efe85b6bf | release: 0.1.0-alpha.4 | ||
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KeelrLeek
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f4f26d6d34 | player bar: the overflow menu out from under the bar's own clip, and Lyrics wired for real | ||
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KeelrLeek
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df3d15553a | playlists + lyrics: setlists with pages of their own, and the words timed to the voice | ||
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KeelrLeek
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c4ff6269a3 |
import: records named by their own tags, and covers resampled where the pixels are
Two threads from one session, both of them the same shape: something was being decided from the wrong source. THE PROVIDERS WERE ASKED ABOUT A FOLDER. The picker sent the directory name to Deezer and MusicBrainz — the ripper's naming, carrying catalogue numbers, years and initials. "[WARP CD 156] Battles - Mirrored - 2007" matches nothing anywhere; "Mirrored" matches instantly. Across the reference library 501 of 515 records carry a tag album and 315 disagree with their folder, and no amount of cleaning turns "ACPP" into "Prospect Park, Brooklyn NY". The record's own claim now leads and the folder is the fallback, in one place (src/lib/import-title.js) that apply and the picker both read — apply already resolved it this way, and only the picker did not. The verdict judge had the same split: it compared candidates against the folder too, so an exact answer scored as mere containment and a clean match wore a warning. Identification also stops searching when searching cannot work. A folder named "1989 Pauls Boutique" is a hopeless query and an easy comparison, so after Deezer and MusicBrainz come back empty the artist's own catalogue is ranked by title similarity. Scoring rather than stripping is the point: 1989, 1984 and 2001 are real albums, and any cleaner aggressive enough to rescue Paul's Boutique would have destroyed them. Words split on whitespace with punctuation folded inside them, so "Paul's" stays one token; pressing vocabulary is ignored for scoring only; coverage is measured from both sides. 15 assertions pin the cases that would break it. Cached verdicts now carry the engine that produced them. A cached match is good forever, a cached "nothing found" only as good as the thing that looked — and nothing ever re-asked. Negatives from an older engine, or from a query that has since changed, are dropped and asked again. Soulseek was asked the same wrong question, with the artist said twice: "battles battles - mirrored - 2007". The server matches on ALL terms, so every leftover token narrows the search — that copy was only found because the peer happened to have 2007 in its path. The ladder now leads with the record's name and keeps the folder as the narrower rung behind it. AVAILABILITY OUTRANKS ENCODING. Candidate copies were ranked with avgBitrate above hasFreeSlot, and queue depth — captured on every candidate — was never read at all. A peer with no free slot and 277 people ahead beat a free peer with a queue of two, because its files reported a bitrate and the others reported none, and `?? 0` scores "didn't say" as the worst possible answer. Bitrate is now ignored between two fully-lossless copies, where it describes the material rather than the quality. And nothing ever gave up. Track 1 is requested alone so it is not queued behind eleven of our own files, the rest follow once the peer proves it will serve us, and a copy that makes no progress for 45s is abandoned for the next ranked one — cancelling the transfers it leaves, which used to trickle on forever. A refusal falls through to the next peer instead of ending the record. "Try another peer" is reachable while one is loading, which it never was. RE-IMPORTING BUILT A DUPLICATE FACTORY. Apply decided a track was already filed by comparing the destination's size to its source — but apply itself rewrites that file, embedding the chosen cover, so it is 582 KB larger from the moment it is written and the sizes can never match again. Every run laid down another " (n)" copy with its own library row: three runs left three of everything, 2.16 GB. A file at the destination that this run did not write is now simply an earlier import; within one run a repeated name is still a collision, which is what `kept` is for. ARTWORK FOLLOWS THE RECORD, ONLY THE AUDIO FOLLOWS THE CHOICE. Apply read art from whichever folder the audio came from, which for a kept found copy is the pen — and a downloaded album often carries no picture, so three records imported with no cover while their own files held a 1500px one. It also only ever looked at tags, never at the Folder.jpg the review had just offered as "yours". COVERS ARE RESAMPLED BY RUST, NOT BY THE COMPOSITOR. The webview was handed 2000px masters to paint 132px tiles — a 15x single-step reduction that reads as aliasing on photographic covers, and carries megabytes of base64 to draw a thumbnail. Artist portraits already had this exact fix; album covers never got it. getArt is now bounded by default and getArtMaster is the deliberate act, because ~60 places paint a cover and only two want real pixels: with the polarity the other way round, every surface anyone forgets is silently wrong. The fullscreen viewer also framed non-square art inside a square element, so its rounded corners and shadow wrapped 96px of nothing; it takes the artwork's own ratio now, bounded on both axes. Smaller, from the same passes: the preview play button is a real transport rather than a restart, and leaving a record silences its own preview without touching music started elsewhere; bucket chips navigate with per-lens memory instead of overwriting the saved resume position; Next counts from the record's real place in a queue that re-sorts under it, which was skipping one record for every one reviewed under a filter; a cover URL with nothing behind it is shown as the empty answer it is rather than a broken image in a pickable frame; write_tags returns early when there is nothing to change, instead of rewriting the whole file to write values it already had; and the import window has a Start over, which says what it costs before it costs it. |
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KeelrLeek
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e7d0971de2 |
import: the whole feature, and releases put back together
Everything the import grew over the last week, landing in one go — the window, the picker, the audition pen, apply, and the review that stands between them. The fold is the new part. A release filed as a container of parts arrived as N albums, because the scan groups audio by its immediate parent and the container holds none of its own: Analord's eleven volumes were eleven records, and six more releases split the same way. Records now fold into the release above them, and apply is handed an explicit part list — never a recursive walk, which is what let one stray file swallow 288 descendants and duplicate 9 GB. Where releases live is read off the collection rather than assumed, so a genre-nested library moves the answer instead of breaking; below a dominant majority at one depth the pass refuses entirely, because no folding beats wrong folding. Three vetoes independent of depth catch a misread level. Every fold is listed in the review with a way out. research/import/fold-audit.mjs imports the shipping module, so the audited code is the running code: 9 folds, 0 swallows across four library shapes, and none of the 148 artist folders touched. It was that harness that killed the tempting version of this rule — matching a part against its container folded 40 artist folders, Mac Demarco's 8 albums into one, because album folders carry the artist's name. The regression test found a live bug on the way: parts number from 01 each, so flattening two discs collided, and "same name, same size" read the second file as already-imported and dropped it while still counting it. That reuse now also requires that this run has not already written the path. Also here: the picker's accent crossfades between records instead of cutting through the app's blue (ownership moved to the window, which survives the per-record re-key), the fullscreen viewer wears the album's accent instead of the one it left behind in the portal, Skip defers a record without deciding it, and Keep mine is gone — with the cards picked field by field it was Next under another name. |
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KeelrLeek
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4b30c5e573 |
vite: bind the dev server to 127.0.0.1, where the app's WebView looks
Vite 6 on modern Node binds [::1] alone when no host is set, while WebView2 resolves the devUrl's "localhost" to IPv4 — the window opens on ERR_CONNECTION_REFUSED while curl and every browser say the server is fine. |
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KeelrLeek
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185c29fc33 |
library: the page lit by its own records, and portraits that prove out
The expander reserves once on the page root instead of standing min-heights on the grid; shelf heads carry artist portraits keyed by path; every record tints its own card, expander and glow from its cover; the artwork opens the shared viewer; the banner wash reads the playing record and actually paints (isolation, the artist page's own fix); descriptions animate on both pages via partAnim. Portrait resolution rejects placeholder rows and never stores a silhouette (pick_artist_portrait, 3 tests); repair re-resolves the missing. |
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KeelrLeek
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741c4ae6dc |
library: file a record you don't own off the payload's own field names
The gap cards were reading `nb_tracks` and `date`, which are the shapes the prototype's generated collection.json used, not the ones CatalogAlbum actually carries — `track_count` and `release_date`. The year chip survived on a fallback; the track count reached the classifier as undefined, so the floor under it had nothing to weigh and every gap card leaned entirely on Deezer's record_type. They also now pass `is_live` and `is_soundtrack` through. Deezer has no record type for either, and the backend sets those flags from the tracklist and the Films/Games genre precisely so a live album that omits "Live" from its title can still be recognised — the artist page reads them, and there is no reason the same record filed on this page should not. |
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KeelrLeek
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f55052506a |
library: three views of the collection, and what every file actually is
Kyle picked this off an interactive prototype (research/library/) over a long evening of passes, and the settings he landed on are baked in rather than left as choices: records no catalogue knows about are ordinary citizens with no marks at all, artwork is generated from a record's own name when there is none, the albums you do not have are one collapsed line that opens into full-size dimmed cards, an artist's shelf splits by release type, the toolbar is a floating card, the index rail is always on, the List view's column header is welded to that card, the entrance is a wave of records, and cards are the artist page's own 150px. The artists accordion is gone. In its place: three views (Shelves, Grid, List), six groupings (Artist, Decade, Format, Type, Added, None), thirteen sorts that are independent of the grouping, a live filter that moves every number in the header, and a stat row that is derived rather than written down. A library page has to say what the files ARE, and library_albums only carries id/artist/title/year/art/count/added. So the library crate gained album_stats: one pass over tracks per call, aggregating length, bytes, average bitrate, bit depth, sample rate and the dominant file extension per album, plus the newest play that met a seconds floor the caller passes (the same 45s the recents list uses — under it a play is a skip, and a page that sorts by "never played first" must not count skips as listening). Aggregated in Rust rather than SQL because the dominant format needs the path's extension counted per album, which SQLite cannot do without string gymnastics, and a library is a few thousand rows. Filing a record as an album, an EP, a single, a live set, a compilation, a soundtrack, a remix record or bonus material is not a new opinion: localReleaseType.js carries CatalogArtist's own title heuristics verbatim — the regexes are the tuned artifact — reduced to the branches whose evidence a LOCAL record can carry. A file on disk has no MusicBrainz release group, no editorial lead sentence and usually no record_type, so the MB and description-hint branches are absent because their inputs cannot exist. Under it sits the floor the prototype settled on: when the classifier lands on "other" and the row carries no provider type, the two facts a file always has decide — three tracks or under ten minutes is a single, seven or under twenty-five an EP — with the session/demo check re-run inside it so a five-track practice tape stays bonus material. It is a copy, and it is marked as one at every function; unifying it with the artist page is follow-up work, not something to smuggle into this. Clicking a record opens CatalogArtist's inline expander, class for class, with its numbers unchanged: the 460ms slide whose height is read live per frame and kept monotonic (a captured height animates to a stale number once the tracklist lands), the staggered waterfall that fades each part to its OWN resting opacity, per-row entrances at min(i*16, 180), and a same-row switch that keeps both panels alive while the stage's height eases between them. What differs is the content, because a library knows different facts: where the artist page shows Last.fm plays and listeners, the rail shows size on disk and bitrate, where it offers Save an owned record offers its folder, and each track carries what its file is. Three things about the chrome are measured rather than typed, and each one is a bug the prototype found first. The bar's height is read off the bar, because a typed 50px parks anything pinned below it behind a bar whose controls have wrapped; the bar's own minimum is a constant, because publishing a measurement into the property that decides it is a ratchet. The index rail's 34px gutter is reserved whenever the rail is on, drawn or not, so no click on Group can change the width of the content column. And the table's column template lives on the page rather than on the rows, because a 1fr column floors at min-content and RECORD is wider than an ellipsized title, so identical declarations on two elements resolve to different widths; columns drop by tier from the page's measured width so a record's name is never squeezed out. The entrance is timed by POSITION, not by index. Indexing the document spends the whole stagger on sections nobody is looking at — 38 shelves means every visible one hits the cap and they all arrive in the same frame, which has no relative motion in it and reads as no animation at all. Delay comes from how far down and slightly across the pane a thing sits, normalized to the topmost thing that is both moving and on screen, and the delays are pulled forward over the next few frames as content-visibility geometry lands (only forward, except while a thing is still hidden, where a correction is invisible). The hero, the toolbar and the column header never move: they are the page's furniture, and dealing them in animated the whole window instead of the part that changed. A rail click corrects until its target stops moving. content-visibility makes the height of everything unpainted an estimate, so one scroll to a section overshoots — measured on the prototype at up to 1143px, with the page's own height moving 2260px during the jump. Two bugs fixed on the way, both the same mistake: `>>` on an unsigned 32-bit hash goes negative above 2^31, so a generated track name indexed past its word list and a generated cover's second hue produced an invalid gradient. Both are `>>>`. Deliberately not here. There is no Import button because there is no backend command to import a folder — Rescan re-reads the library and its stats, and a real importer is a backend feature. The "N of M released" count and the missing-albums line appear only for artists you FOLLOW: a follow carries an anchored artist id, and matching a local artist to a provider by name is exactly what the identity rules forbid, so an unfollowed shelf says what it holds and nothing more. Verified against the running app on real files: 7 albums, 72 tracks, 1.8 GB on disk off the new command, and Maladroit opening to 13 tracks, 33:37, 279 MB, 1019k, FLAC 16/44.1 with per-track rates, its notch under the card it belongs to and its row landing 10px under the pinned bar. Verified headless against the mock library at scale: all eighteen view-by-grouping combinations at one content width, the toolbar pinned with zero drift, the joined header's columns matching the rows on both edges, the expander opening from a card and from a row, morphing in place within a row and closing without leaving its reserve behind, and the wave moving 74 things with 34 distinct arrival times across 391ms while the chrome stayed still. |
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KeelrLeek
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10e4c75b33 |
home: rows that fill the window, and news across the whole of it
Kyle picked this off an interactive prototype after four passes: news as a band rather than a sidebar, cards at 150px, rows filling to width, the banner capped at 1400, and no "show all". The news sidebar and the desk grid are gone. News is a full-width band whose column count follows the window — two at 1152, six at 2560 — and the 312px aside stops taking 338px off every row at every width. Rows are wrapping grids now, repeat(auto-fill, 150px), which is the artist page's own release grid. The paging rails went with them, and with the rails went their arrows, their per-rail ResizeObservers and the edge-fade mask. Row caps follow the window instead of being constants: perRow is floor((pageW + 16) / 166) and every row is exactly two lines at any width, which replaced GRID_MAX = 12 and the 6/6/10/6 breaks. Back catalogue goes from 8 cards at 1152 to 24 at 2560 off the same rule. Out soon is dropped on Kyle's instruction — the feed already leads with the same upcoming record as its featured card, so the panel repeated the top of the page. Complete the set and Following come back as bands; the three sections share one snippet, and the news-* classes are band-* because the shape now holds artists as well as headlines. Two bugs fixed on the way. .ax-card is a button with display: block, and a button's content box is vertically centred by the UA, so as a grid item stretched to the row height the slack split above and below the artwork — three-line sub-lines put the image at 9px and one-line at 25px. It is a flex column now. And the entrance dealt a hardcoded eight cards while fill-to-width puts 8 to 24 on screen, so everything past the eighth sat at full opacity while its neighbours faded in; it walks the sections and deals the ones actually on screen, shortening the stagger as the count grows. The news row stays newest-first with no per-artist quota. A round-robin was tried and rejected: it is a news row, and if nothing is happening with an artist there is nothing to say about them. Repetition of one story is bounded in Rust, where it belongs. |
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KeelrLeek
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d397b78887 |
news: about the artist, and each story only once
Kyle reported duplicate articles and a few unrelated ones. Measuring the
live feed found it far worse than the handful he saw: 84 items across
seven follows, hand-labelled, 26 junk — and 24 of the 26 came from two
artists. toe returned 0 of 12 genuine, Pond 0 of 12. Round Pond, Goose
Pond Colony, Inlet Pond County Park, "Amanda M. Pond", peep-toe mules, a
funeral-home obituary. Not one item about the Australian band.
The largest single cause was not the query. parse_news_rss kept the first
twelve items and sorted by date afterwards, so it discarded ranks 13-100
of Google's relevance order — and every genuine toe item sits at rank
15-88. Nothing downstream could recover what was thrown away there. All
100 are parsed now; the cap is 40 and applies after filtering and dedup,
because the frontend's band asks for bandCols * 3 and twelve starved a
wide window.
news_relevance is the precision mechanism. Hard gates first: the name
must appear as a whole token run, every occurrence must not abut a hyphen
(peep-toe, head-to-toe, Chorn-Pond), and a canonically capitalised name
in a sentence-case headline must appear cased. Then document-level
signals, then occurrence-level signals computed for every occurrence with
the maximum kept — and the decision is a total AND a separate floor on
the occurrence subscore. That second clause is the whole filter: at a
single combined threshold every false positive scored at threshold from
document signals alone. "Every song on the 'Tip Toe' soundtrack" is a
music-press host plus a quoted title plus a music noun and carries zero
evidence at the name. Publisher reputation must never admit an item on
its own.
Tiers come from a short explicit dictionary, not from name length and not
from a frequency table. Length demoted Weezer to the strict path and cost
it four genuine items; corpus rank sent Wand from 16 kept to 45 because
the feed floods with "Wistoria: Wand and Sword", and took toe's precision
from 1.00 to 0.70.
dedup_news collapses several outlets' wording of one report — containment
rather than Jaccard, because headline lengths are wildly asymmetric and
Jaccard's union denominator punishes exactly that; artist tokens retained,
because stripping them starves a six-token headline to two; leader
clustering, because union-find chained 68 of 93 King Gizzard items into
one "story"; a 2-day window with unparseable dates non-mergeable, since
rfc2822_secs returns 0 on failure and two zeroes always satisfy a window.
The survivor carries an others count for the outlets it stands for.
That still left the other kind of repetition: many different reports about
one record, similar to each other but not to the leader that absorbed the
rest. Six of the visible twelve were the same Alien Metal announcement.
The fix is not a lower dedup threshold — lexical similarity merges
unrelated stories long before it catches rewrites — but a ceiling:
news_story_key names the album or single a headline is about, and
news_story_quota keeps at most two per work, applied after the date sort
so the survivors are a story's newest. Headlines naming no work are never
dropped, so a feed can shrink but can never be emptied.
Two things that were quietly broken. News URLs never qualified in
disk_cache_path, so the entire disk branch in artist_news was unreachable
and every restart refetched every follow against a rate-limited endpoint.
And rfind on a set of dashes plus one lands mid-character on a 3-byte
en-dash: the slice panics, and a panic inside an async Tauri command never
resolves its promise, so the News band hung forever — but only for artists
whose name sits mid-headline.
The host now comes from the source element's url attribute; its text is a
display name ("GamesRadar+") and is not a host. Both new fields are
serde(default), because cached items are read back through an .ok() that
swallows a schema mismatch: a required field would silently invalidate
every cached entry and fire a cold refetch for every follow at once.
Measured live: toe 12 items (0 real) to 5 (5 genuine), Pond 12 (0 real) to
7 (7 genuine), 32 duplicate clusters collapsed covering 71 redundant
reports, and no story takes more than two of the twelve visible slots.
Derivation, the falsified alternatives and a what-not-to-do section are in
research/news/PLAN.md.
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KeelrLeek
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034eac9569 |
home: a landing page built from the app's own parts
Approved on research/home-redesign after four passes: the Desk layout, the Showcase polish, the welcome card, a 6-month feed window, news with reviews filtered, and all three of the sections I proposed. Nothing here is a new design. The release cards, their grid, the date chip and its accent-glass recipe, the upcoming wording and the missing play button on an unreleased record are the artist page's. The section heads, the featured card, the artist cards and the list rows are ArtistExtras'. The entrance is CatalogDiscography's edition deal with the same four approved numbers, and the arrival rule with it — a null from consumeScroll means a fresh arrival, which is the only thing that deals; coming Back is a return to something already read. Only the rails, the aside panels and the news list are new vocabulary, and those came off the mock verbatim. The styles are copies rather than imports for the same reason the discography page carries copies of the album page's: a page that reaches into another page's stylesheet couples them forever. The feed is what "new" honestly means. Deezer's release list merged with the MusicBrainz identity supplement — A ? of WHEN is a Panda Bear record that exists only in the supplement, and Weezer's upcoming album only carries its real name (Gold Album) there — then deduped per artist by cover and by base title, which collapses Weezer's BBC triplet and Röyksopp's four same-day remix drops to one card each. Upcoming first, then newest, with the age riding the artwork so the reader never has to work out whether "new" means this week or last spring. Jump back in is deliberately NOT deduped against it: a record can be new and also what you were just listening to, and it belongs in both. Everything reads caches. Assembling this feed cold costs one catalog_artist call per followed artist — 48 seconds for nine, measured — so home_warm walks the follows in the background through the same entry points the pages use and emits per artist as it goes. The page fills in progressively instead of waiting for the last one, and a follow change re-walks it. Three sections were mine to propose and are now in: the back catalogue (albums older than the window, one per artist first so a deep discography cannot own the row), the library rail, and Complete the set — you own two of sixteen Weezer albums and a new one lands in seventeen days. |
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KeelrLeek
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8ef730848a |
news: headlines about the artists you follow, anchored to the artist
No per-artist music news API exists — every product that does this aggregates and filters, so this does too. Google News RSS is the source: free, keyless, no pagination, and no contract at all, which is why it gets the most conservative pacer in the file (4 requests per 10 seconds) and a 6-hour cache on disk as well as in memory. Nothing user-facing waits on it; the home page asks after it is already drawn. The query is the QUOTED artist name plus the word "music", and the quoting is the whole design. Measured 2026-08-04 against the real feed: a bare ambiguous name returned 0 of 10 relevant items — searching "Girls" gives Indigo Girls, The Deli Girls and a school production of Mean Girls — while the same name with a corroborating token returned 8 of 8, and an unambiguous one 10 of 10. That is the identity-anchor rule the rest of the app already lives by, applied to a provider that only speaks in names: never trust the name alone. The parser is deliberately not an XML library. One provider, four flat tags inside <item> blocks, exactly the judgment the Bing scrape made. What it does handle is what Google actually emits: entity-encoded titles including numeric forms, a " - Publication" suffix on every headline (stripped when the tail matches the <source> tag, so the title reads as a headline rather than a citation), and RFC 2822 pubDates converted to unix seconds by a hand-rolled civil-date conversion — nothing else in the workspace needs a date crate for one field. Freshness and relevance stay OUT of here. The 45-day window and the review filter are display policy and belong to the surface that shows them; this returns what the feed said, newest first, capped at a dozen. |
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KeelrLeek
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50afa6a6a9 |
branding: the falcon replaces the waveform everywhere the app is seen
Kyle's pick — the deep-navy-glow rounded icon. Regenerated from the 1024 master through Tauri's own generator, so every surface comes off the same art rather than a hand-resized copy per platform: icon.ico (16/24/32/48/ 64/256 frames), icon.icns, the Square*Logo tiles Windows uses for the Start menu and taskbar jump lists, and the Android and iOS sets. icon.svg is the source SVG itself, so the vector beside the rasters is the one they were cut from and not a stale ancestor. public/logo.png is the app's own titlebar mark, drawn at 20px. It gets the full-resolution master rather than a downscale — it is one asset, the size costs nothing next to the artwork this app already holds, and there is then no second file to keep in step when the icon changes again. Verified in the running app: the titlebar draws the falcon, and the icon extracted back out of the built exe is the new one, not a cached resource. |
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KeelrLeek
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1e6f3f2250 |
release: package-lock follows the alpha.3 bump
It carries the version in two places of its own, so the three files the release commit touches are really four. |
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KeelrLeek
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f0c2bb5ed3 |
taskbar: transport buttons under the window preview
Hovering the taskbar button pops a preview, and an app may put buttons under it. Every media player uses them for the transport, and now so do we: previous, play/pause, next, with the middle one swapping its glyph as playback starts and stops. Clicks are emitted as `soulseek:media-button` — the same event the OS media card sends — so the frontend's existing dispatch handles them with no new code and the two surfaces cannot drift apart. Verified by posting the exact WM_COMMAND/THBN_CLICKED the shell posts: next advanced the queue, toggle paused, toggle resumed. Three Win32 facts shaped the implementation. The buttons can only be added ONCE per window and only after the shell has created the taskbar button, which it announces with a registered message — but Tauri shows the window before the setup hook runs, so that announcement is usually already gone by the time we could subclass, and the first build put no buttons up at all. They are added directly at init now, with the first playback as a retry for the case where the taskbar button genuinely does not exist yet. Clicks arrive as WM_COMMAND, so hearing them means subclassing Tauri's window — SetWindowSubclass chains rather than replacing the window procedure, so wry still receives everything it expects. And ITaskbarList3 is apartment-threaded, so it lives in a thread-local touched only on the UI thread, with updates from the player's event thread marshalled through run_on_main_thread. The glyphs are drawn at runtime rather than shipped: they are four flat shapes, and a .ico per glyph per theme would be files to keep in step with a transport that already draws itself in the app. Coverage is sampled on a 4x4 grid per pixel, which is what stops a 16px triangle looking like a staircase. They follow SystemUsesLightTheme — the thumbnail flyout rides the system theme, not the app's — and are rebuilt on WM_SETTINGCHANGE when that flips, so they do not end up dark-on-dark. |
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KeelrLeek
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f6eb9ff02f |
media card: Windows knows SoulStream is a music player now
Registering with the System Media Transport Controls is what makes an app a media app to the OS rather than a window that happens to make noise. The card that the media-key overlay, the taskbar media flyout and the lock screen all draw now carries our cover, title, artist and album; the hardware media keys reach us with the window unfocused; and the transport buttons on that card drive this app. Verified against the OS's own session list: title/artist/album/albumArtist, type Music, a live scrubber, a present thumbnail, and play disabled while playing. Where each half of it comes from follows where the truth already lives. Status and position are pushed by the backend's player event pump, which already sees every transport change and every position tick — the card is driven by the same events the UI is, so it cannot drift from the window, and it costs no IPC at all. Metadata goes the other way, once per track, published by the player bar: the queue lives in the frontend and so does the derivation the bar displays, and publishing exactly what the bar shows means the two can never disagree. Deriving it a second time in Rust would guarantee that one day they do. Button presses are forwarded as `soulseek:media-button` rather than handled in Rust, because nextTrack knows about shuffle, repeat, the album fill and re-sourcing a track restored from the last session, and none of that is knowable from that side. They run the same functions the on-screen transport runs — the play/pause branch moved into togglePlayPause() so there is one implementation, not two that drift. Proven by driving the app from the OS session: next advanced the queue, pause and play moved the status, previous restarted the track on the >3s rule the app already had. Stop is deliberately disabled: this transport has no stop, only pause, and a dead button on the card is worse than a missing one. Buffering maps to Changing, which is what "finding best source…" honestly is. The thumbnail is the bar's own data URL decoded into an in-memory stream — no temp files — and it is explicitly cleared when a track has no cover, because the previous track's art outliving it is worse than none. The debug handle gains the local playback entry points beside the streaming ones it already had. That is not only convenience: verifying this end to end needs a track playing, and every run that reaches for Soulseek to get one costs a login the server starts ignoring after a burst. |
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KeelrLeek
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f72b12a892 | release: 0.1.0-alpha.3 | ||
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KeelrLeek
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34313e6035 |
discography: the whole catalogue on a page of its own
"Show all" beside the artist page's Discography head opens every release as a stack of album-page heroes with their tracklists — the shapes Kyle picked off the mock: the search page's top-result card as a compact header, the album hero at --cover-scale 0.45 per record, a per-record accent sampled from its own cover, the year rail and the tab summary. The tab row does not stick and there is no Playing badge. Records the artist page has not fetched are shown rather than hidden, and the entrance is the W1 stagger — 300ms in, 55ms per row, 28px of lift, eight rows. It does not re-file the releases. catalog.discoTabs is the artist page's OWN computed tab list, published as it derives it and republished as the evidence improves. It has to work this way: the filing depends on the background description harvest that runs while you look at the artist page and on the MusicBrainz type hints from the deferred identity pass, neither of which is derivable from the payload — so a second classifier would read neither and would quietly file some releases differently from the page that linked to it. One list, computed once, handed over. If the tabs in hand belong to somebody else, opening a discography lands on the artist page instead, which republishes them and puts "Show all" one click away; an empty discography would be a lie about the catalogue. The page's CSS was extracted from src/ rather than retyped — CatalogAlbum's record section, CatalogSearch's header card and PlayerBar's menu, pulled through the same rule-matcher the mockup generator uses — so it inherits the app's measurements instead of approximating them. Verified against the running app: artwork 108px, record hero 114.3, header 147.5, header top 78, bar offset 0, ambience banner 0, rail centring error 0 and 12.8px of clearance at every scroll depth and pane width. Pond files 12+16+2+2 = 32 families on both pages. It is the one page exempt from BAR_VIEWS' padding-top rule, deliberately: its blurred ambience layer has to begin at the very top of the pane, and a padding there would start it halfway through the glass bar. It takes the inset on its header's margin instead, which lands in the same place. |
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KeelrLeek
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819a2757bc |
artist page: five sections after the hero, and nothing moved to fit them
Latest release, Releases by year, Fans also like, In your library and About slot into the page between what is already there — hero, Popular, Discography grid and all — and CatalogArtist gains three lines: an import and two placements. They live in ArtistExtras so Svelte scopes their styles away from this file, which matters more than usual here: both files name a .hero-bg and a .card, for completely different things. Every section is fed by a call the app already makes. catalog_related is Deezer's related-artists field, literally commented "Fans also like" and simply never rendered on this page; the bio and profile calls already run; latest and the timeline come out of page.albums. Nothing here needs a provider that did not exist before. Latest release is CatalogSearch's top-result hero — the app's only surface for presenting one item prominently — with min-height 0 (there is no stat row to hold space for) and a 6px artwork radius so it rounds like a record; it tints from its OWN cover, scoped, so it never wears the playing track's colour. Fans also like reuses this page's .grid/.release markup, so its columns are the same 150px tracks as the discography above it, drifting 0px on all six. The release grid's min-height reserve had to learn about them. That reserve is the tab-pinning contract — everything under the pinned tab bar must span a pane-height — and when the grid was the last thing on the page the grid had to supply all of it. It is not last any more, so both reserves now discount the real content below it: without that the grid stood on 206px of empty min-height under its final card, a hole nobody could see until something rendered after it. The discount is parent-bottom minus grid-bottom, which is invariant to the grid's own min-height because both edges move with it, so the reserve converges instead of chasing its own write; when nothing follows the grid it is 0 and the figure is exactly the old one. The grid's parent joins the ResizeObserver, because the sections land asynchronously and grow it without touching the grid's box or the pane's. An earlier attempt pulled the sections up by a measured slack instead. The grid reflowed after the measurement and they landed on top of the release cards. Reverted: prefer a fix that can only be a few px wrong over one that can be catastrophically wrong. Verified: expander open and close leaves scrollTop at 1571, and the tab bar sits at 231 across switches. |
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KeelrLeek
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520e2ad4e4 |
follow: the artist page's heart becomes a real thing, stored and celebrated
Following an artist now writes a row: followed_artists (artist_id, name, portrait, followed_at) beside the playlists in the library db, reached through follow_artist / unfollow_artist / followed_artists, each emitting soulseek:follows-changed. Re-following refreshes the name and portrait — identity improves as pages are visited and a later portrait is usually the better one — but keeps the original followed_at, so "following since" stays honest. Name and portrait are stored on purpose rather than looked up: the home page's "new releases by artists you follow" can then draw a card from the row alone, with no catalog request per artist. The store is the UI truth and the chip never keeps its own copy. It is optimistic — the chip flips at the click and reverts if the write fails, rather than leaving the screen telling a lie. The chip itself (FB4) leads the stat row and wears the accent as ground with dark text, the Play pill's own trick, so its on-state is legible across the room. The lead slot is a fixed 14x14 in which the +, the equalizer bars and the check swap places, so nothing about the chip's box moves except the word — and the word morphs between its measured widths instead of snapping. Clicking runs the Encore: the + collapses, three bars dance three beats with a note rising per beat, they bow, and the check springs in as "Following" grows into place. The db write and the toast fire at the CLICK; the ceremony is presentation only, so navigating away mid-show still follows. Unfollow is an undo — the shrink morphs, nothing celebrates, and the toast says so. Every effect is template-owned with scoped keyframes. The first build spawned the glow and the notes imperatively and referenced -global- keyframes, which silently did not resolve: the glow ran no animation and sat at full opacity, the notes held opacity 0 and never appeared. The bars worked throughout for exactly the reason the others did not. The row around it is shorter too, at Kyle's call: the library and listening chips (progress meter, the disk popover, format, hours, last played, top track, genre) come out, leaving the identity trio and the socials. With nothing left to shed, the socials' scroll-driven fade and their layout drop at the park boundary come out with them, and the divider's clear space moves from the follow heart by name to whichever chip now closes the run. The JS that fed the removed chips stays — it is cheap, local, and the numbers still have a home coming. |
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KeelrLeek
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5786269592 |
player bar: it grows upward, the cursor is marked by the wave itself, and the shape you leave it in survives a restart
Expanding (mock E1+T1, cubic-bezier(.22,1,.36,1) over 350ms to 90px):
`.app.player-expanded` sets --player-height beside the sidebar's own rule
and grid-template-rows joins the transition, so the bar grows into the
content and its bottom edge is pinned without a rule saying so — the
grid's height is the window, the bar's track takes 28px and 1fr gives up
exactly that. Inside the bar four blocks are absolutely placed so the two
layouts can interpolate; flex cannot, because one row to a centred
two-row stack means changing flex-direction, which does not animate. Name
and extras sit at top 50% with a -50% translate and are centred at every
height in both states. --btn-w and --extras-w are measured once rather
than assumed: extras is 180px, not the 170 the layout was drafted with,
and it differs between a stream and a library track. The toggle takes the
download button's seat (the sidebar's .gicon, verbatim) and Save to
library moves into the ... menu under the same isStream gate. Measured:
name and extras vertical error 0 in both states, transport and lane
horizontal error 0 expanded, lane exactly 10px under the transport.
The 1px playhead tick is gone from all three painters. The bar under the
cursor lifts while its neighbours dip (A4): growing alone reads as
nothing, because the median bar is 21.3px of a 24px lane and 87% of bars
have no headroom left to grow into — the dip is what carries the
silhouette. The wash is enter/leave only, one shared presence ramp with
hard span membership, so the edge cannot trail the pointer: 0-bar lag
across five jumps in both directions, and moving inside the lane
schedules no frames at all. The settled painter keeps its cached-Path2D
grouped fills whenever no pointer is on the lane.
The clipped-name edge fade from
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KeelrLeek
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e976fb88ba | ignore branding/ — the logo kits are worked on elsewhere | ||
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KeelrLeek
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2a83615958 |
player bar: one fixed name box — the transport never moves again
The content-hugging cluster made the whole bar jump between songs; the capped-and-scrolling mockups read as either dead space or perpetual motion. What stuck (namehover.html, 2026-08-03): the name box is a CONSTANT 240px — meta width and NAME_BOX_PX, paired — so the transport, the lane, everything right of the cover sits at the same pixel whatever plays. Verified across a long library title and a short cached one: meta 240, cluster 291, play button x 387, identical every time. A name that fits simply sits in the box. A longer one rests under an edge fade — a gradient mask, never an ellipsis; every truncation rule the old layout needed (the 55% artist ceiling, the album-gives-way flex, the ellipsis trio) is deleted, because the box owns clipping now. While the pointer is over a clipped name it glides out at 40px/s, holds 1.1s, glides back, repeats; it eases home the moment you leave, and the gradient only ever sits on the side actually hiding text. Both lines — title and artist · album — glide independently, and the tooltips still carry the full words. |
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KeelrLeek
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a949c24677 |
playback: streams try peers that can actually deliver, and give up on the
dead ones faster "Da Funk" — hundreds of sources — took over a minute to start. The quality-first score ranks a format tier at 1000 points and a free upload slot at 600, so busy lossless peers owned the entire failover list; each one queued the request and never sent a byte, and the flat 15s-per- candidate walk burned the minute before a live peer got its turn. For STREAMING, candidates are now stable-partitioned: peers with a free upload slot first, best quality within each half. Quality still decides among peers that can deliver immediately; a busy peer's better file is a save-time choice, and downloads keep the pure ranking. The album path and the background fill inherit the same order. The failover budget drops from 15s flat to 12s for the first candidate (an indirect handshake can honestly take ~10) and 8s for the rest — a peer that has not sent a byte in eight seconds is not about to. Worst case falls from ~60s of dead peers to ~36s, and the common case — an available peer ranked first — starts in seconds. |
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KeelrLeek
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cef1363acd |
playback: stop flooding the Soulseek server from the album fill
Clicking rapidly through a record's tracks kept dropping the server session and arming its reconnect throttle — a fresh login died inside ~90 seconds of a click-storm. Cached plays themselves were innocent (play_stream's cached branch never touches the network, preloads cache-check first); the traffic was the album FILL, which every play restarted immediately and which fires a server search for every remaining track the source memory does not know. Three protections, layered: The fill now starts only after the queue has sat still for four seconds, and a new play cancels the pending start — stress-clicking sends nothing at all, while normal listening fills the album four seconds into a track, hours before it matters. Searches are globally paced: never two inside 1.5 seconds, whoever asks. A user-triggered resolve still feels instant — the first search never waits — only bursts are spread. And a failed AUTOMATIC connect arms a three-minute backoff. Every dev-reload of the page runs autoConnect, and an auto-dial during an outage only extends the server's cooldown; the user's own login button still dials whenever pressed. |
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KeelrLeek
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8cd56a433e |
player bar: the album line survives library plays, and lands with the title
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.
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KeelrLeek
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e2cfed081c |
player bar: the track-change morph stops being a coin flip
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. |
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KeelrLeek
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0bbdb1bb0e |
player bar: track changes morph shape into shape, not up from the dots
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. |
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KeelrLeek
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1765de65cf |
player bar: a complete waveform arrives as one motion instead of popping
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. |
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KeelrLeek
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4c9a6e312a |
library: one record, one recents row, however it was played
A saved album that also streams showed up twice in the sidebar's recently-played — once as the library album, once as the catalog album — because a play row carries album_id only when the played FILE was a library track, so streamed plays of the same record grouped separately under their catalog id. The plays table already holds the bridge: any play that carried BOTH ids (a local track played with the catalog page on screen) pins that catalog album to that library album, by exact ids, never by name. recent_albums now folds linked catalog plays into the library row — which also keeps the row's timestamp honest when the newest listen was the streamed one — and drops them from the catalog arm. Deleting the album from the library dissolves the link, and its catalog plays stand alone again. Regression test reproduces the exact two-Origins shape: dual-id play plus a newer streamed play must come back as one library row wearing the streamed play's timestamp, sorted above an older unrelated record. |
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KeelrLeek
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5ac456102f |
playback: the album button and the background fill learn the cache too
The cached-source skip only covered single track clicks; pressing Play on an already-streamed album still resolved from scratch, and the background album fill searched for every remaining track it appended. Three closures: Play-album first asks the memory for every track of the record, and when all of them are still byte-complete in the cache it queues the whole album from memory — no search, no popup, playable offline. One unknown track falls through to the resolver as before. The resolver's own queue build now remembers EVERY track of the folder it picked, not just the one that plays — one album resolve teaches the whole record, so the next press of Play skips straight to the cache once the files have finished arriving. The background fill checks the memory before searching for each appended track, and remembers what it appends, so a record that has streamed before extends its queue instantly instead of running one 7-second search per remaining track. Verified live: the remembered track went from click to playing in 114ms with the resolver never activating. |
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KeelrLeek
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f55562f0ab |
playback: a cached track plays without asking Soulseek where it lives
Hopping between songs of an already-cached album still ran the full "finding best source…" resolve for audio sitting complete on disk — a second of popup between every click. The player now remembers the source each stream item was queued from (localStorage, LRU-capped at 400) and, before any search, asks the backend whether that exact file is byte-complete in the stream cache. If it is, the track plays those bytes immediately: no resolver, no popup, and no online requirement — cached audio is playable offline, so the check sits before requireOnline. The memory is a hint, never a promise. It is written eagerly when an item is queued to PLAY, because a source that never delivers leaves no complete cache file and the byte-complete probe rejects it later at no cost; eviction and half-finished transfers fall back to the normal resolver the same way. First play of a track records it, every play after that is instant. |
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KeelrLeek
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b33d403634 |
player bar: the name sets the width, and the waveform stops flattering the clamp
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. |
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KeelrLeek
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3aaec30dc6 |
metadata: a lost probe race no longer writes an image host off for five minutes
The image-host liveness probe has a 3-second budget so a page never waits on it — but losing that race was recorded as "the host is down" and cached for the full five-minute TTL, turning one bad sample into square portraits on every artist page in the window. Measured on the machine that reported it: all 213 cached assets.fanart.tv urls answered in ~130ms while the machine's own first DNS resolver ate 1-3.6s of the budget before a byte was sent — and the A record's TTL is 300s, exactly the probe TTL, so every probe replayed that lottery on an expired name. The fast verdict still stands for the page that paid for it — it falls through to the next provider immediately, as before — but a background confirmation with a 12-second budget now decides whether the verdict persists, and the warning reports what was measured (timeout, transport error chain, or 5xx) instead of asserting an outage it cannot see. A regression test stalls a local socket exactly once and proves the host comes back without waiting out the TTL; the fanart_probe_live harness prints the reqwest error chain four ways for the next time a provider is suspected on this machine. |
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KeelrLeekandClaude Opus 5
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9aeb6c39c7 |
player bar: one row, aligned to the sidebar's column, and it says who is sending
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> |
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KeelrLeekandClaude Opus 5
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b173f60085 |
search: the results page, the typeahead, and a session that survives a reload
The page is the signed-off prototype built out: floating rounded hero, inline top-tracks panel, filter chips, two-column Songs|Albums beside Artists, and all seven states — results, searching, no results, one-kind-only, library-empty, provider-unreachable, first visit. MusicBrainz records are merged in silently behind the Deezer rows. The top result is ranked by POPULARITY, not by kind: each kind puts up its most popular exact match and the winner is whichever holds the largest share of its own kind's leader. A raw fans-vs-rank comparison was tried first and handed "panda bear" to an Owl City song. Two provenance traps are paid for here. Deezer's /search/album returns no release_date at all, so sorting newest-first ordered by PROVENANCE rather than by date; dates are backfilled from the artist overview, resolved PER ALBUM ARTIST because Deezer's artist search answers nothing for "weezer blue album". And the typeahead holds its keyboard selection as the row's KEY rather than its index, because the MusicBrainz supplement lands ~600ms later and re-orders the album group under the cursor. The hero's middle third is hidden on the width of the PANE, not the window. The sidebar and the now-playing rail take ~490px between them, so a 1504px window can leave the hero 1012px — a window-width media query cannot see that, and the "latest release" card ended up sheared down to 26px of itself. The budget is written out at the @container rule. Session restore rounds it off: reload or restart returns to the same place with the same track, everything but the transport coming from localStorage. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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KeelrLeekandClaude Opus 5
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7547fed56d |
playback: remember the last transport so a reload lands where you left off
PlayerState carries last_transport, mirrored as events go past, and player_state reports it. The frontend restores everything else from localStorage, but the transport cannot come from there — the audio lives in Rust, and a reload that trusted the browser's copy would show a position the engine had never heard of. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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KeelrLeekandClaude Opus 5
|
dc918c98ef |
metadata: per-track listeners, and an artist profile the search hero can ask for
CatalogTrack gains artist_id — Deezer sends it on every search row and it was simply unparsed — and rank, its 0-1,000,000 popularity figure. Together they let a listener count be resolved for the PERFORMING artist of each row rather than for the query's top artist, so a "panda bear" search shows Daft Punk's "Doin' it Right (feat. Panda Bear)" at its real 464,046. Resolution rides the existing deezer_linked_mbid -> lastfm_listener_ranks chain behind a new catalog_track_listeners command, deliberately kept separate from catalog_search: that one is typed against per keystroke and must never wait on MusicBrainz's 1 req/s gate. catalog_artist_profile backs the hero's middle third — MusicBrainz tags off the cached artist document plus one Last.fm artist.getinfo. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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KeelrLeek
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f8f56f4398 |
albums: ask the artist's own discography before deciding a record does not exist
"A ? of WHEN" opened as a bare local page — no plays, no listeners, no real release date — while the artist page's expander showed all three for the same record. The artist page was right and the resolve was wrong. Deezer's SEARCH index is not the discography. The artist page merges a MusicBrainz supplement on top of it, and MB-only records get a real id, a real release date and full Last.fm figures there; the Deezer search that openAlbumByName ran simply cannot see them. So the resolve now falls through to the artist's own album list before giving up. That list has to be the SUPPLEMENTED one. getCatalogArtistPage returns the raw Deezer page until the artist page has been visited and written the merged version back into the cache, so a cold click still missed. It now runs mergeArtistIdentity itself — the same pure merge the artist page and the Now Playing panel already share — instead of concluding the record is nowhere. Verified against the artist page's own numbers: id 5831190465731370, released 2026-07-10, 4,521 plays, 236 listeners, per-track 66/131/113/108 — identical to the expander. The local-composition path stays as the last resort for a record genuinely in neither catalogue, where it is still the only thing that can render at all. |
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KeelrLeek
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dde8c7510b |
albums: one page for every record, and streamed history rows that actually open
Three things were wrong with opening an album, and only one of them was the one that got reported. The reported half: clicking a local record in the sidebar's history went to the old in-library album view. Local albums carry no catalog identity of any kind -- `albums.mbid` is null and is not even in the DTO -- so there was nothing to route with. openAlbumByName already existed for exactly this (the now-playing links use it, and it requires BOTH artist and title to match normalized, which is the namesake guard); it now reports whether it resolved and caches settled answers, so a second click is instant. The unreported half, and the reason "half of them are not working": every STREAMED row was dead. catalog_album_id is TEXT in SQLite, so it arrives as a string, and `catalog_album` takes a u64 -- the invoke was rejected outright with "invalid type: string ... expected u64". Terrestrials, OK Human and 9 all failed silently on click. The id is coerced in checkedAlbumPayload now, where both other string sources (page seeds) pass through too. And the part that made the first half unfixable: a record no catalog carries had nowhere to go. Panda Bear's "A ? of WHEN" is not on Deezer, so no amount of resolving would ever open it. Local albums now render on the SAME page, composed from the library's own data -- its tracks, durations, bitrates and the cover already on disk -- under a namespaced `lib:` id that can never collide with a Deezer one. Playback stays local: Play and any row queue the files you already have rather than sending a record you own back through the resolver. Save is not offered (it is already saved), previews are absent (there is nothing to preview), and the attribution footer credits your library rather than claiming Deezer + MusicBrainz. With that, the old view has no callers and is deleted: the album-page block, its CSS, and the members that only it used. Nothing anywhere routes to it. Verified live: all six history rows open the new page, a Home card opens it, Play queues 14 local FLACs without streaming, and the back arrow returns. |
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KeelrLeek
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3c5bccf1b6 |
recents: a streamed album has no library id, so the key must not pretend it does
The sidebar history looked completely dead -- albums never appeared, the
list never updated, and often nothing was there at all. The backend was
fine the whole time: 460 play rows, recent_albums returning every album
correctly.
The list is a keyed each on `a:${album_id}`, but catalog-anchored rows --
every streamed play -- carry album_id NULL by design and are identified by
catalog_album_id. One streamed album in history keyed `a:null` harmlessly.
The second one collided with it, the keyed each threw, and the whole list
unmounted; every later refresh fed a dead component. It demoed clean
yesterday only because history had just been wiped and exactly one
streamed album existed.
Keys now carry the id realm, the same two-realm split isPlaying and
openRecent already used.
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KeelrLeek
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69f64c11eb |
previews: the glow goes, the eq steps, and every clip lands before you scroll to it
The track preview modal could hold a machine at 25% GPU. Three separate causes, each measured in isolation with a kill-style ladder and, once the GPU-engine counter proved to be clock-relative (a lighter workload read HIGHER), with clock-immune process CPU-seconds. Idle drain. The scrim's backdrop-filter is re-executed on every presented frame -- a backdrop filter is never cached -- so its cost is presents/sec times window area. Two infinite animations kept the modal presenting at the display's refresh rate forever: the eq capsule's bars animated `height` (a layout property, so style/layout/paint on the main thread every vsync) and the cover glow's halo-breathe kept a blur(48px) copy recompositing. Either one alone kept the pipeline hot, which is why killing one changed nothing. The glow is deleted outright at Kyle's request; the eq bars now scale with a stepped transform whose three delays are multiples of the step interval, so all three jump on the same instants and one present serves them all. Playing steady state: 7.2-10.5% of a core down to 1.4-2.2%. Paused: 0.2%. Scrolling. The animations turned out to be innocent here -- reverting them moved the number not at all. The cost was per-step work: re-decoding the full artwork for the background wash, a main-thread accent scan, a new cover mount, three times a second. The wash is now a 96x58 canvas with the blur/saturate/brightness baked in at draw time and cached per artwork, and an overlay preloader walks the manifest once at open -- nearest to the active card first, capped at 60 -- filling the decoded-image, wash and accent caches ahead of the user. A rapid-nav jump-cut was tried and rejected on sight; the animations stay full at every rate. Backend. preview_resolve swept the clip directory on every call, and any landing outside the +/-1 prefetch window paid a full Deezer mint, download, validate, write and loudness measure. The fetch-store-measure core is factored out and a new preview_prewarm walks the session's track ids at open, paced 250ms on top of the existing Deezer throttle and starting 1.5s in so the first clip owns the network, halted by a generation guard on dispose. A burst landing on a never-visited track is now audible in 154ms off local disk. The sweep is throttled to ten minutes, and dispose deletes prewarmed files instead of orphaning them until the hourly reap. The debug overlay's GPU row was summing the counters machine-wide, so it read roughly double the app's share with Discord and DWM folded in. It now reports `app X% - sys Y%`, the app figure restricted to our process tree, matching Task Manager's per-process rows. |
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KeelrLeek
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eba29824c9 | sidebar and artist pipeline: one list in the rail, recents anchored to ids, and popular takes its own lane | ||
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KeelrLeek
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606250c361 | resize: reads before writes everywhere, and an open album drags like a closed one | ||
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KeelrLeek
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52f5878297 |
loudness: a first play starts three quarters of a decibel under the prefix
The prefix estimator is BIASED, not merely noisy, and the sign is known: a quiet opening under-reads the track, so the head asks for too much gain far more often than too little. Subtracting a constant moves the whole distribution toward the truth, so a first play begins nearer its real level and the correction that follows has less ground to cover. Measured by a new `head_start_offset_sweep` over 1046 tracks sampled across 182 artists — at most six per artist, spread across each discography rather than taken from the front, since openers are where intros are least typical and intros are the whole source of the bias. The cached corpus it replaces was a dozen artists and put the median at +3.48 dB. Sampled diversely it is +1.55, so the old number was overstating the bias by more than double. The size comes from the MARGINAL trade, not the smallest mean error: step loud fixed quiet created ratio 0.0 -> 0.5 -89 +41 2.2 : 1 0.5 -> 1.0 -83 +85 1.0 : 1 1.0 -> 1.5 -61 +132 0.5 : 1 Only the first step is clearly worth taking. mean|err| bottoms out at 1.5 dB instead and is the wrong objective: it weights an error that begins decaying at once the same as one that waits for Analysis::Complete, which on the streamed first plays this path exists for is download-bound and therefore late. A constant is deliberately a weak lever. The per-artist median error runs from -4.58 dB (Boards Of Canada) to +7.03 dB (Ponytail); no single number fits everyone, and an offset shifts that spread without narrowing it. The levers that would are letting the follow recover UPWARD, and predicting the offset per track from the prefix. Both still open. The overlay reports it as a MOVE — what the prefix asked for, where the track actually started, and a ghost tick on the dB scale at the prefix position, so the gap to the applied gain IS the head start. Gated on `analyzing`: at Analysis::Complete the player releases to the whole-track gain while loudness.gainDb goes on reporting the prefix value, which it keeps for the next play. Without that condition the line advertised a correction that had already been released. |