forked from Keelrleek/SoulStream
7a517dca59fe6e63a6685376de203799fffec705
13
Commits
| Author | SHA1 | Message | Date | |
|---|---|---|---|---|
 KeelrLeek
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7a517dca59 |
navigation: one glass bar for every page, with a history and a path in it
The glass bar was copied into two views and each carried its own contextual
back link — "Results" on the artist page, the artist's name on the album page.
It is a shared component now (src/components/GlassBar.svelte), and it carries
the app's navigation: back/forward arrows, and the trail to where you are.
**History and the trail are different things, and the file keeps them apart.**
History is a SEQUENCE — every place visited, in order — and it drives the
arrows. The trail is a HIERARCHY, derived from the current place, never from
history. That is why switching between two editions of a record adds a history
step but does not add a crumb: a breadcrumb built out of history would read
`Search › Weezer › Blue Album › Deluxe Edition`, which says the deluxe sits
inside the original. It does not.
Crumbs improve in place. An artist page opens on an id and learns its name and
portrait a moment later, so the crumb starts as a placeholder and is refreshed
through ONE call site (`rememberArtistSeed`), guarded so remembering a seed for
a row in some list can never rewrite where you are. Search results are the
journey's root rather than a bare "Search" — the crumb reads “weezer”, which
is the thing you actually want to get back to.
Arriving crumbs slide in from the right; only genuinely new ones animate, so an
ancestor that was already there does not re-run its entrance when the tail
changes. Chosen from four motions mocked against a real navigation stack.
Every navigation now goes through a recorder. A bare `ui.view = "…"` is a
destination the back arrow can never return to, so the sidebar routes through
`goToView` and the catalog openers record on arrival.
**Scroll position is remembered.** Going back returns you to the paragraph you
left; arriving somewhere new starts at its top. The difference is exactly
whether the move came from the arrows/trail or from a fresh click. Two details
that mattered: the offset is captured at the START of a navigation, because the
scroll pane outlives the view swap and by the time a page has been replaced its
scrollTop already belongs to its successor; and restoring is not one assignment
— the artist page paints a skeleton, then an overview, then the full
discography, so a single `scrollTop = 900` clamps to whatever height exists in
that frame and lands near the top. It re-applies until the target is reachable
and gives up the instant the reader touches wheel, key or trackpad. The album
page never reset its scroll at all, so a record opened from half-way down an
artist page began half-way down; it does now.
**The artwork lightbox serves any cover.** It was hardwired to the playing
queue item; `ui.fullscreenArt` (a boolean) is now `ui.artwork` (a descriptor),
so Now Playing, the artist page's expander rail and the album hero all open the
same viewer with their own `{src, local, title, subtitle}`. Each passes the
UPGRADED cover rather than the sized variant it paints — the point of the
viewer is the master resolution.
Hovering artwork offers it: the whole element lifts under a light wash with the
expand mark centred. `transform`, not a width change — on the album page the
copy column is sized to end level with the artwork, so a reflowing hover would
twitch the entire hero. The three numbers (--art-grow 1.035, --art-motion
160ms, --art-wash) live in global.css rather than being typed into three files.
Now Playing's corner expand disc is gone: one gesture for "open this artwork"
everywhere instead of a disc in one place and a lift in the others.
On the artist page the expander's album NAME now opens that record's page.
Also removed: the album page's scroll-triggered title takeover. The breadcrumb
names the record permanently, which made it redundant — the build was already
flagging its CSS as dead.
**And the fix this session actually turned on.** Kyle reported the album
tracklist's counts as "heavily glitched": Pinkerton showed El Scorcho at 636
listeners beside Tired Of Sex at 606,324. Switching the column from plays to
listeners changed nothing, because both were wrong for the same reason.
`artist.gettoptracks` returns a popular song many times over — once as itself,
then again for every "(Album Version)", live cut and remaster — listeners
descending. The fold meant to keep the first entry, and its comment said so,
but it was written `if by_key.insert(k, v).is_some() { continue }`.
`HashMap::insert` returns the previous value AND STILL OVERWRITES, so the guard
correctly skipped the ranked push while letting every later duplicate win the
map the album tracklist reads. The last re-listing — the most obscure pressing
— is what reached the screen.
Measured against the live API for Weezer: Buddy Holly is rank 1 at 2,351,642
listeners and rank 679 as "(Album Version)" at 1,919; the page printed 1,919.
My Name Is Jonas 1,100,251 → 870. El Scorcho 654,071 → 636. Pink Triangle
810,659 → 6,070. Only songs Last.fm lists exactly once — "Tired of Sex",
"Across the Sea" — were ever right, which is why the column looked plausible in
places and absurd in others. Twenty-four entries for "The Good Life", twenty
for "El Scorcho".
The fold is now `fold_lastfm_duplicates`, pinned by two tests using those real
figures. It also repairs Popular's plays and the album totals, which read the
same map. The tracklist column shows listeners in both places it appears — the
album page and the artist page's expander — because leaving one on plays would
have let one record disagree with itself.
152 Rust tests and 85 JS tests pass.
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KeelrLeek
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ea9a040d09 |
album page: the record gets a page of its own, under the same glass bar
The album page was a back link, a 150px cover and a list of titles — a
placeholder beside the artist page it is reached from. It is now built from the
same parts: the frosted glass header, a hero carrying the record's own art and
palette, the play-count bars, and the edition cards.
**The glass bar is the artist page's, not a copy of it.** Same 46px, same
rgba(20,20,24,0.28) over blur(12px) saturate(1.7), same sticky top:-24px with
the -24/-28/-22 bleed that spans the pane and leaves zero flow height. It is
meant to be the header every page navigates by, so it had to be the same
object rather than something that resembles it.
It gains one thing here: the record's cover, name and a play button fade into
the bar once the title itself has gone under it, so the bar always says where
you are. That watches the TITLE, not the identity block — watching the block
meant waiting for the artwork to clear too, about 240px of scroll on a page
that only has 199px of it, so it would never have fired on a ten-track album.
**The hero is one proportional block.** `--cover-scale` sizes the artwork
(282px) and everything beside it is `em` off that one root, so type, gaps, the
artist portrait, the pills and the stat divider all move by the same factor.
Two earlier attempts are worth naming because they both looked wrong:
- damping the type (0.6 + 0.4·s) made the words visibly lag the artwork;
- `space-between` filled the height but opened the gaps faster than the type
grew, so the block came apart as it got bigger.
The gap is 1.8em, which is what the five rows need to fill the cover exactly,
and being an em it keeps that fit at any size. Measured live: the label's top
and the buttons' bottom both sit 0px from the artwork's edges. The hero's own
height derives from the artwork (`--cover + 68px`), so the 24px under the glass
bar holds at every scale instead of being a second number that drifts.
**Editions come from src/lib/editions.js — the artist page's own grouping.**
`releaseFamilies`, `editionBaseTitle`, `isEdition` and `editionLabel` moved out
of CatalogArtist.svelte (143 lines deleted there, not duplicated) so both pages
fold a record's pressings the same way. Two implementations would have drifted
invisibly: each page would show a plausible edition list and disagree about
which pressings are one album.
The album payload has no siblings, so the family is rebuilt from the artist's
discography. It reads the FULL page rather than the overview — the overview is
the artist page's first-paint subset and both dropped the anniversary edition
and carried no track counts, so the rows read "1994" where the discography
reads "1994 · 50 tracks". Cached per artist, and already warm whenever this
page was reached from theirs. Live, the Blue Album now lists Original 10 /
Deluxe 24 / Anniversary Super Deluxe 50, matching the discography exactly.
One deliberate narrowing: the artist page buckets releases by category before
grouping, and that categorisation leans on page state this view does not load
(harvested description hints, MusicBrainz type hints). So a sibling is accepted
only when the backend LINKED it (`edition_group`, a verified ordered core-track
match) or it declares the same record type. That can only ever show fewer
editions than the discography, never promote a separate live album or
compilation into this record's edition list.
**Switching edition is a swap, not a navigation.** `openCatalogAlbum` grew a
`keepCurrent` option that holds the page already on screen instead of clearing
to the loading state; the incoming cover is decoded before the swap so the
artwork crossfades rather than blinking out; and the parts are re-dealt on the
same clock as the expander — 400ms quintOut, 7px lift, banner → cover → kind →
title → meta → stats → actions → tracklist → description → editions → credits.
Polled at 16ms through a swap: 0 blank frames. The blurred banner fades without
lifting, because sliding a 42px blur reads as a wobble, and every part animates
to its OWN resting opacity — the banner rests at 0.62 and animating it to 1
would have run the colour wash half again too bright for the whole swap. A
failed load under `keepCurrent` clears anyway, so a dead edition surfaces the
error instead of looking like the click did nothing.
**The byline shows the artist, not the album cover again.** The album payload
carries the artist's NAME and nothing else, so `resolveArtistSeedByName` reads
and fills the same cache `openArtistByName` uses: the click that navigates
there has usually already paid for it, in-flight lookups are deduped so the
page and its own back button cannot fire the same search twice, and a transport
failure stays retryable rather than being cached as "no artist". A neutral dot
holds the space until it lands, so the line never reflows.
Shuffle and Preview join Play and Save. Shuffle is an action on this record,
not a toggle — it always turns shuffle on rather than flipping a global and
silently starting the album in order — and stays lit while it is on so that
state is visible from here. Preview opens the same modal the artist page does;
`buildAlbumManifest` already existed in the preview layer with no caller, which
is what this surface was for. It reports partial availability the same way, and
the manifest is a snapshot so an edition swap cannot rewrite an open session.
Also: plays bars, the whole-track/listener totals, the editorial description
and a released/label line, all off data `catalog_album` was already returning
and the page was throwing away. The plays column hides below three tracks — a
bar measured against itself is not a comparison, and on a single it read as a
rating. Track counts are pluralised, so a single says "1 track".
No add-to-playlist button. `add_to_playlist` requires a file path per track, so
a catalog album can only be added once it is in the library; that is a playlist
decision, not something to slip in behind an icon.
150 Rust tests and 85 JS tests pass.
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KeelrLeek
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644a0192a5 |
discography: give mixtapes a tab, and stop the provider spelling it twice
Death Grips' "Exmilitary" was missing from the app entirely. Deezer never
carried it, and MusicBrainz has it but types the release group Mixtape/Street,
which the studio-album supplement excluded along with every other secondary
type. The same exclusion hid Chance the Rapper's "Acid Rap" and "Coloring
Book" — records that outscrobble everything he has released as an album.
They cannot simply join Albums. MusicBrainz files 118 Mixtape/Street groups for
Gucci Mane and 51 for Lil Wayne, which buries a 15-record discography, and no
significance gate separates the canon from the ephemera: measured on Last.fm,
Exmilitary sits at 19% of Death Grips' biggest record while Gucci Mane's
"Chicken Talk" sits at 20% of his. The two are indistinguishable by weight
because both are real. So the answer is filing, not filtering — a tab of their
own, where volume costs nothing and nothing has to be hidden. It sits beside
Albums rather than down with the archival tabs because for the artists who have
any, the mixtape is usually the canon. Empty tabs are already dropped, so
Queen and Radiohead never see it.
A SEPARATE query rather than a relaxed filter, and the page cap is the reason.
MusicBrainz returns 100 items, and asking one query for both — via
`-secondarytype:live AND -secondarytype:compilation AND …`, the only form its
Lucene actually honours, since a bare
`(-secondarytype:* OR secondarytype:"Mixtape/Street")` returns either nothing
or mixtapes only — came back with Gucci Mane's 87 mixtapes and just 13 of his
15 studio albums. The mixtapes ate the page and pushed two real records off it.
Split, the album supplement is byte-for-byte what it was, and the cost is one
request on the DEFERRED identity pass, disk cached for a day like every other
MusicBrainz call.
The tab then exposed a dedup hole that had been there all along.
`normText` DELETES bracket contents, which is correct for the peer file
matching it was written for and wrong for release identity. MusicBrainz writes
a qualifier after a colon where Deezer puts it in parentheses, so
"World War 3 (Lean)" reduced to "worldwar3" while MB's "World War 3: Lean"
reduced to "worldwar3lean". They could never collide, so the supplement
injected a second card for a record already on the page — and with mixtapes now
filed apart, the same work appeared in Albums AND Mixtapes. Ten such pairs on
Gucci Mane, among them "Wilt Chamberlain (Pt. 5)" / "Wilt Chamberlain, Part
Five", "Bird Flu 2" / "Bird Flu, Part Two" and "Trap House 4" / "Trap House
Four".
The identity merge gets its own key, which keeps the qualifier and folds the
three things the providers genuinely disagree about: the separator, the words
introducing a number, and whether that number is a digit, a word or a roman
numeral. Single-letter romans are deliberately NOT folded — "X", "V" and "I"
are real album titles and reading them as 10, 5 and 1 would merge unrelated
records.
And a matched mixtape contributes its TYPE, not a card. The Deezer row keeps
the slot because it is the playable one — real album id, real tracklist — and
MusicBrainz's verdict re-files it, exactly as `type_hints` already re-files a
mislabelled compilation. That is what moves "World War 3 (Lean)" out of Albums
instead of leaving one copy in each tab. It is also why Gucci Mane's Albums
count falls 146 -> 73: those rows were ALREADY being swallowed by the old
title check and left sitting in Albums untyped, so this does not hide them, it
finally classifies them.
Every row sharing a key adopts together, not just the first. A provider
sometimes carries one record twice under its own spellings ("Brick Factory 2"
beside "Brick Factory, Vol. 2"); typing one of them and not the other put one
copy in Mixtapes and left the other in Albums, which is a worse page than
leaving both alone.
Measured live: Gucci Mane 252 -> 241 rows with cross-tab duplicates 10 -> 0,
Death Grips one mixtape and it is Exmilitary, Queen and Radiohead unchanged
with no Mixtapes tab rendered. 75 Rust tests and 85 JS tests pass.
Still open, and older than this change: Deezer carries "Brick Factory 2" and
"Brick Factory, Vol. 2" as two rows, and "Trap House 3" beside "Trap House
III". This key would collapse them, but that means deleting a row the page
currently shows, which wants measuring across a range of artists first.
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KeelrLeek
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388ad7d910 |
artist page: open an album in place, and show what the numbers are worth
The discography grid gains an expander: click a record and it opens between the rows, with a rail carrying the art, the totals and the editions, and a track list beside it. Three strands landed on this file across as many sessions and they share the same DOM -- the row template the plays column widens is the one the expander draws, and the keying that attribution needs is what makes the cover crossfade possible -- so they arrive together. **Keeping the grid still while a panel grows inside it.** An expander opening mid-grid moves every row below it, and the naive version fights its own animation: the reserve is measured against a layout that is still collapsing. So each expander other than the one being kept is treated as mid-outro and discounted from the measurement, the grid's `min-height` glides to the new reserve rather than snapping, and a same-row switch keeps BOTH panels alive -- `panelLeave` takes the outgoing one out of flow so the two overlap instead of stacking, and the stage eases between their heights so the box never collapses to nothing on the way. `.xp-stage` exists to be the containing block for that. **The loading state only exists if the load is slow.** A warm open resolves in tens of milliseconds and used to flash a line of text on its way past, so nothing renders until the load has outlasted a 250ms grace -- and when it does render it is placeholder rows drawn in the track grid's exact geometry, so the real list replaces them in place rather than reflowing. **Cover tier follows DPR, not window size.** The rail art is a FIXED 209px -- the rail column is 250px regardless of monitor -- so a 4K display does not make the box bigger; only device pixel ratio does. 209px needs 418 device pixels at DPR 2, which the 500 rendition covers, and side by side at DPR 2 the 500 and 1000 sources are indistinguishable at actual size. At DPR 3 the 500 is visibly soft. So 500 below that line and 1000 above it, rather than paying 3.6x the bytes (148KB -> 501KB per cover) on every display to fix the top one. Coverart Archive has no 1000 rendition; its next step is 1200. **Popular rows are keyed on `origin_track_id ?? id`.** This is what lets the backend hand a row its original album without destroying it: the corrected row is REUSED rather than torn down and rebuilt, which keeps its save state and is the whole reason the cover can crossfade instead of popping. `nowPlayingTrack` matches either id, so a track that is playing stays marked as playing across the correction. The crossfade itself needs the proxied art SYNCHRONOUSLY -- one microtask is still a frame with the raw CDN url in `src`, which is a network request for a file already held -- hence `peekCatalogArt`, which returns the resolved data URL or null and never a promise. The replay recipe goes to v4 for the same reason it went to v3: a v3 replay carries Deezer's licensed attribution on every popular row -- Bohemian Rhapsody on the 2018 movie soundtrack, wearing that poster -- and painting a known-wrong album name instantly is worse than one ordinary load. **Plays, as a heat block rather than a bare number.** Bar length and colour both scale with the count, tinted with the OPEN album's accent so the column reads as this record's own. The header and the rows share one grid template, so the columns line up whether or not Last.fm knew the record -- and when it knew nothing the whole column, header included, stays out of the layout entirely. An unknown track is a dash, never a zero. Album totals sit between the meta line and the Play row, badged when they were summed from the tracklist because the provider's own figure could not cover its biggest track. The listener count in the Popular list needed the row wider: break-even was 833px for the column plus its gap, up from 760px, and the rest is air, so title and album each end up ~38px wider than before rather than narrower. That column is muted and deliberately NOT accent -- the row already spends the accent on `.now`, and a coloured column on every row drowns the one that means "playing". |
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KeelrLeek
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4c0c4a1ea5 |
cover logo: supersample the winner, and scale to the target not past it
Five changes to the mask the tracer receives, plus the diagnostic needed to tell them apart. The alpha ramp's bottom now scales with the measured ink distance instead of sitting at a fixed 46. On a faint mark that constant ate the outer half of every edge gradient -- Wand's "Machine Man / M.E." inks at distance 97, so the pixel carrying ~20% coverage was forced fully transparent and the boundary quantised to whole source pixels. The finished alpha is then rescaled so the glyph body reaches opacity, bounded at 4x; narrowing the ramp onto the ink was tried instead and let paper grain bite the edges. A BLIND OCR read (zero lines, not "no match") retries once at 512px. Windows OCR is scale-sensitive on large display type and reads that cover at 512 and at no other size; gating on blindness rather than on no-match kept a 21-artist regeneration at 1m47s where the looser gate took ~6min. The winning cover is re-cut with the crop resampled up BEFORE the alpha ramp, so smoothstep evaluates interpolated colour and places the edge between source pixels. Selection still runs at native scale: extract_wordmark feeds MIN_MARK_H and the aa/coverage/bleed score, so supersampling during scoring changes which cover wins. That scale is fractional. A floored integer factor is 1 for every crop wider than half the target, so at 2400 a crop of 1201px was supersampled by nothing at all while 1200px got 2x -- and the covers on the wrong side of that cliff are the large printed wordmarks, where the staircase was worst. Measured over eight artists, Hot Toddy's zigzag share fell 0.312 -> 0.048 and Crazy P's 0.220 -> 0.021, with every other artist unchanged. 2400 itself is confirmed by sweeping 1200/3600/4800: past 2400 the mask overshoots the tracer's raster so the browser downscales what Rust just built, every shape measure goes flat and the data URL doubles. catalog_cover_logo_debug reports the rejection reason and the mask itself, and its cover cap follows COVER_LOGO_MAX_COVERS instead of undercutting it at 14 -- where it hid exactly the covers production relies on. The artist page also re-runs the logo pass when ownership changes the covers on offer; that pass races the identity merge and had been reading the unfiltered list, which is how Wand wore a wordmark lifted from a co-tenant's single. |
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KeelrLeek
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4d6e69e324 |
release ownership: one Deezer id can be seven artists
There is exactly one Deezer artist called "Wand" (1213178) and it holds the LA psych band, a Brazilian funk MC, an Indonesian act, an Indian one, a 2020 house project and whoever released Hard Knox in 2009 — 46 of its 72 rows are somebody else's. Ranking search results cannot help (there is one candidate) and neither can credit role (every row is primary-credited to it). The Apple namesake filter that should have caught this switched itself off: APPLE_EXACT_ARTIST_CANDIDATE_LIMIT is 8 and Apple has TEN artists named Wand, so the candidate fetch failed closed and every catalogue came back empty. It fails closed for a good reason at page-load time — it picks the winner by overlap with the requested artist's own Deezer releases, which on a fused record are partly the co-tenants'. Circular evidence has to fail closed. So the answer is not to raise that cap but to stop asking the fused list. artist_release_ownership runs in the DEFERRED identity pass, where the linked MBID has already named the artist, and picks the Apple performer that reproduces THAT catalogue. Non-circular, so 20 candidates is safe. Evidence is MB release groups of every type, the verified Apple catalogue, and the label sets of both (MB at one sighting, Apple at two — Apple files two rafftheraff singles under the LA band). Pruning only runs where a row is provably carried by a different same-named Apple artist, so the gate opens on 4 of the 55 artists measured and stays shut on Wednesday's twenty namesakes, Jungle's sixteen and Roosevelt's fourteen. The same evidence repairs the opposite failure. The guest guard keeps an appears_on row only if MB credits it to the artist's own MBID, which assumes MB mirrors collaborations. It does for Watch the Throne, whose artist CREDIT names both. It does not when the collaboration is its own entity: VULTURES 1, VULTURES 2 and KIDS SEE GHOSTS appear nowhere in Ye's 315 release groups, and all three were being erased from his page. Apple's artistName credit, read as a list of principals, restores them without restoring guest spots — Estelle's "American Boy (feat. Kanye West)" is still hers. A fused record's PORTRAIT is wrong for the same reason its releases are: it is whichever co-tenant uploaded last, a real photograph of the wrong person, so deezerPortraitMissing cannot see it. The verdict is persisted, because the search dropdown is typed against per keystroke and can never afford the lookups that produced it. Its store is deliberately not in net-cache-v1 — prune_disk_cache deletes every json there by mtime, and a verdict is not a cached response. Measured live: Wand 72 -> 26, Hot Toddy 36 -> 16, Crazy P 68 -> 51, Turnover 30 -> 25, Kanye 50 -> 64; Weezer, Pond, Billy Cobb, JPEGMAFIA and Daft Punk untouched. The page's "wand." wordmark went with the co-tenants and should have: it was traced from the Indonesian single's cover. |
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KeelrLeek
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613ae18e87 |
cover logo: fix the two ways artists silently lost their wordmark
Both regressions were invisible because the pipeline's failure mode is a shrug:
no logo, no error, fall back to plain text.
1. The dominance guard was resolution-dependent. It bins the crop into a coarse
16-cubed RGB histogram and rejects when the dominant colour holds under half
the pixels ("text over a photo"). A BIGGER source resolves more grain and
JPEG texture, which spreads pixels across bins and shrinks that share -- so
the identical crop of Alvvays' "Blue Rev" measures dominance 0.746 at 1000px
and 0.226 at 3000px. Once the upgrade path started supplying hi-res artwork,
covers that had segmented cleanly for months began failing a guard that had
not changed; its input grew. The histogram and guard now read a copy
normalised to the 1000px they were calibrated at, while the alpha ramp still
runs at full resolution -- which is the whole reason for fetching the larger
cover.
2. Only the top 14 covers were ever offered. The rank puts albums first and
penalises remix/mix/edit/live titles, but a prolific artist's wordmark is
often on exactly those: Poolside has 74 releases and SEVEN covers that OCR
reads as "POOLSIDE", every one of them outside a 14-cover window. The cap
goes to 40 on both sides (the frontend list must not undercut the backend's,
since whatever it trims the extractor can never see). This is free for
artists that hit early -- the locate loop stops at COVER_LOGO_MAX_HITS -- and
is paid once, then cached, by artists with no wordmark at all.
Recovered: Alvvays (nothing -> 871x173), Poolside (nothing -> 528x225),
Men I Trust, and Motor City Drum Ensemble now extracts too. Verified no
regression across the rest of the research roster: Camping in Alaska, Crazy P,
Folamour, Hot Toddy, Mildlife, Session Victim, Turnover, Knocked Loose,
Snail Mail, Spiritbox and Todd Terje all still extract at their previous sizes.
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KeelrLeek
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e536e96180 |
discography: drop guest appearances, but only where MusicBrainz can arbitrate
Deezer's /artist/{id}/albums returns records the artist merely contributed to,
alongside their own. Mid-Air Thief's page carried four Rooby Jeantal lo-fi EPs
that way -- his real discography is two albums.
This is not the namesake bug that was hardened in July. Every identity step here
is correct: MusicBrainz links the artist to Deezer 51082452, that is the id we
open, and the MB supplement injects both real albums. The leak is credit ROLE,
which is why an identity fix never touched it.
Deezer cannot answer it alone. Album details expose the primary artist, so a
guest spot is visible -- but every contributor is marked role "Main", so Kanye
West on "Watch the Throne" (primary artist JAY-Z) is byte-for-byte the same
shape as a guest EP. A "not primary, therefore drop" rule deletes a real album.
MusicBrainz separates them, because it credits a genuine collaboration under
BOTH artists: Kanye's own MBID returns "Watch the Throne", Mid-Air Thief's
returns only his two albums. So the backend only FLAGS (`appears_on`, set from
the details pass where the release's primary artist is finally visible) and the
frontend drops a flagged row at the identity merge only when MB answered for
this artist and does not credit the row. No MB albums means no arbiter and
every row is kept -- thin-coverage artists never silently lose real releases.
EPs now enter the album-details pass, which is what made this invisible: the
pass was album-only, and all four guest releases are typed "ep". They already
sort ahead of singles for the details cap.
Replay recipe bumped to v2: pages cached before this are stamped
identity_merged and would skip the pass that drops the rows.
Verified live -- Mid-Air Thief 6 albums -> 2 (무너지기/Crumbling, 공중도덕);
Kanye West keeps "Watch The Throne (Deluxe)", flagged appears_on but MB-credited,
with all 58 rows intact.
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KeelrLeek
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e58410d9f8 |
artist page: always open at the top
.content is the app's one scroll pane and it outlives the view swap, so its scrollTop was inherited by whatever loaded next: leave one artist 900px down their discography, open another, and you arrived 900px down the new one — mid-grid, hero already squeezed into the bar, with no hint the page had a top. Reset it on catalog.artistOpenSeq, a counter bumped once per openCatalogArtist call, rather than on the artist's id. The id cannot distinguish a re-open of the artist already on screen — clicking their name from Now Playing while parked deep in their own page, where nothing moved and the click read as dead — from no navigation at all. Nor can this key on the page object: the cold path replaces it stage by stage under the same id, which would haul a reader back to the top mid-read. The counter bumps once per open and never per stage. The bump sits after openCatalogArtist's invalid-id bail-out, so a request that never opens anything cannot scroll the page the reader is still on. Verified live: three artist-to-artist hops parked at 1222 each land at 0 and stay 0 through every cold stage; re-opening the artist already on screen from 1070 lands at 0; mounting from another view with the pane genuinely parked at 1500 mounts at 0; and a reader parked at 600 on the artist they are already on holds at 600 through six seconds of stage churn. |
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KeelrLeek
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86e0d86604 |
fix: preview crossfade no longer strands the main volume (silent playback)
Clicking a track could play silently: the store showed status=playing with the position advancing and no error, but the sink was at volume 0. The open/close crossfade ramped the main player's USER VOLUME as its fade channel and left it at 0 on an ack timeout (or when a track change suppressed the close resume). User volume persists across tracks and a new Play doesn't reset it, so every later click played at 0 while the slider still read 0.7. Give the main player a separate fade_gain channel (Cmd::SetFadeGain, sink = volume * norm * fade_gain), reset to 1 by every Play/Stop. The open/close fades ramp fade_gain instead of set_volume (their volume arg is gone, JS callers too), so the user volume is never touched -- store and backend can't desync -- and a clicked track always resets fade_gain to 1, so it can never be stranded silent. fade_resume lands exactly at 1. Player::fade_gain() mirrors it into a report atomic; debug overlay shows main fade + this proved the fix live (open 1->0, close 0->1, new track 1.0, volume steady at 0.7). 39 app + 12 player + 85 JS tests pass. |
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KeelrLeek
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793f78370e |
feat: crossfade preview suite, loudness normalization, debug overlay
Preview modal audio, five rounds: - True track-change crossfade: scheduleSettle no longer silences the outgoing clip at t=0; preview_load's equal-power fade owns both ramps, gated on the incoming voice's first Playing event (audible_marks), with failure/overstay fallbacks. CROSSFADE_MS = 340 — locked to the reel's card-slide so audio and visuals land together. - Two-neighbour lease prefetch + a 15-min on-disk clip byte-cache (recent_clips): steps in BOTH directions crossfade in ~15 ms; revisits never re-download. - Adaptive settle (isolated steps fire immediately, bursts coalesce) and anticipatory auto-advance (step at clip end minus 400 ms) so auto-play crossfades over the tail instead of gapping. - Session resume memory: revisited tracks continue where they left off (decoder-level start offset via play_local_from/resume_at); finished tracks restart from the top. - Open/close crossfades with the MAIN player: fade-pause with the desired-paused latch landing at ramp end, fade-resume from the paused position; MAIN_FADE_GEN guards; focus handshake relaxation documented in focusBridge. Volume normalization (Settings > Playback, default on): - Dependency-free BS.1770/EBU R128 meter in the player crate (K-weighting, 400 ms gated blocks, incremental) + analyzer that reads the same growing file playback streams from — first plays are measured at download speed. - Gain layered under user volume; audible start GATED on a preliminary measurement (10 s of audio or 800 ms budget) so the level is right from the first sample and never changes mid-track; prelim boosts capped 3 dB, peak-aware clipping guard, persistent loudness-cache.json. - Gapless boundaries get their own sample-accurate gain via SetNextNormGainDb, fed by preload analysis. Debug overlay (Ctrl+Shift+D): process-tree CPU / PDH GPU / working-set + private-commit RAM / network rates / FPS / current-track download progress read from the backend's own StreamProgress / live normalization state / preview session phase. Polls only while visible. 131 JS + player + app tests green; every path verified live over CDP. |
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KeelrLeek
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d051f0db28 |
Phase 2C WIP: PreviewOverlay modal + root integration (reel centering bug)
Working: - PreviewOverlay.svelte mounted at app root; opens over a fixture manifest (window.__previewFixture(n) in dev), inert background, player bar hidden, focus trap, keyboard nav, F3 rail, T3 swaps, R1b capsule, accent extraction. - previewSession.svelte.js: store + service wiring (production + fixture). - Root integration in App.svelte; revision-gateway bumps + notePlaybackGeneration threaded through state.svelte.js player entry points; api.win guarded so plain vite browser mounts. - Launcher on the artist page builds a real artist manifest and opens the modal with a play-full starter. - 70 JS tests still green. Two bugs found and fixed during bring-up: - effect_update_depth_exceeded: bleed-crossfade and bump effects read AND wrote the same $state; wrapped writes in untrack(). This loop was breaking Svelte's scheduler globally (even ui.* stopped reacting). - accentFromImage now sets crossOrigin for remote covers. KNOWN BROKEN (handoff): reel vertical centering. The active card stays centred at index 0 but drifts by one stride per step. Root cause isolated — see TODO-Feature-Docs/scrollable-track-previews/HANDOFF-PHASE2C.md. |
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KeelrLeek
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a667b4b28e |
Baseline: full tree snapshot after git repository loss
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. |