AquaSynth/state/memory.json

{
  "project": "AquaSynth",
  "mission": "Own AquaSynth patch authoring, analysis, preset mapping, and Faust generation in C# for the AquaSynth/Vortice engine path.",
  "current_boundary": {
    "leave_in_rust": [
      "Rust sample renderer",
      "PatchPlayer runtime",
      "realtime AudioUnit bridge",
      "experimental Rust DSL compiler branch"
    ],
    "own_here": [
      "patch graph model",
      "operator graph model",
      "renderable delayed operator feedback",
      "patch parameter contracts",
      "reference patch contracts",
      "test-only public-domain DX7 fixtures",
      "test-only dexed-py reference renderer",
      "test-only project-authored Dexed patch renderer",
      "ignored listening WAV parity artifacts",
      "structured development .aqua patch library",
      "ZynAddSubFX .xiz feature extraction with project-authored fixtures",
      "Zyn additive harmonic-bank DSL surface",
      "Zyn PAD spectral-cloud DSL surface with explicit Zyn profile/bandwidth/position table semantics",
      "explicit low-pass Q filter damping",
      "staged rate/level envelopes for normal voices",
      "thresholded DX7 rendered parity test",
      "reference rebuild catalog",
      "DX7 SysEx structural parsing",
      "DX7 algorithm topology metadata",
      "DX7 effective operator-level approximation",
      "DX7 measured carrier output amplitude curve",
      "DX7 isolated modulation-index route scale",
      "DX7 summed/cascaded modulation route scale",
      "DX7 calibrated feedback amount table",
      "DX7 ratio detune lowering",
      "DX7 ROM COM output compensation cut",
      "DX7 operator key/rate scaling at effective played note",
      "DX7 topology-aware route lowering",
      "DX7 envelope trace helper",
      "DX7 block-interpolated envelope applied-gain trace helper",
      "DX7 applied-envelope curved lowering",
      "staged operator envelope DSL",
      "curved staged operator envelope segments",
      "DX7 envelope-to-ADSR approximation",
      "standard ADSR envelope model",
      "note frequency/gate model",
      "Faust-managed playback/polyphony contract",
      "Faust toolchain selection and compile-product contracts",
      "dynamic patch compilation policy outside the realtime callback",
      "generated DSP artifact manifests for engine hosting",
      "live patch compilation, native Faust factory lifetime, and offline sample-buffer render proof for engine hosts",
      "phonetic intent, articulatory plan, morphology capability, and constraint-report contracts for vocal tract synthesis",
      "Pink Trombone fixture path through primitive vocal DSL records: AreaFunction, WaveguidePath, SourcePort, ConstrictionContact, BranchPort, RadiationLoad, ProbeTimeline, ControlSurface, ControlSpline, PhonemeGesture, and VocalNetwork; tract_shape, glottis, tract_injection, nasal_branch, tract_motion, phoneme_gesture, and tract are adapters/sugar, not DSP authority",
      "utterance parity curriculum research and docs",
      "patch script parser",
      "SFXR atoms and parameter mapping",
      "analysis/comparison metrics",
      "Faust-generated C# candidate rendering",
      "speech timing/confidence receipts for render requests, results, and checkpoints",
      "CultMesh speech render/scoring orchestration with payload manifests, peer/lease admission receipts, worker assignment, result collection, and central checkpoint application while the authority trainer owns optimizer steps and checkpoint commits",
      "frozen IPA gesture experiment rounds and local render trials with candidate scripts, primitive timelines, extracted primitive timeline facts, gesture-layer metrics, manifests, evidence JSONL, metric summaries, candidate clusters, science briefs, WAV artifacts, evaluator reports, CultCache .cc trial-result records, and Qdrant/Ollama-derived semantic retrieval indexes over those records and local artifacts",
      "local song-snippet scene parity challenges with seeded clip extraction, tempo autocorrelation, register/scale hints, external Codex swarm orchestration, rendered candidate scoring, and song trial-result CultCache records",
      "script scoring",
      "preset catalogs",
      "Faust emission and compiler wrapper"
    ]
  },
  "taste": [
    "Patch scripts should be terse but lower into explicit, inspectable graph data.",
    "Compiler abstractions should remove repeated musical structure, not hide DSP behavior.",
    "Generated Faust should be boring enough to diff and debug.",
    "Realtime-facing work must assume allocation, locks, file I/O, console I/O, and OS calls are hostile."
  ],
  "doctrine_refs": [
    "docs/audio-doctrine.md",
    "docs/dx7-calibration-plan.md",
    "docs/migration-checklist.md",
    "docs/reference-synth-roadmap.md",
    "docs/ipa-vocal-tract-roadmap.md",
    "docs/utterance-parity-research.md",
    "docs/pink-trombone-dsl-parity-plan.md",
    "docs/acoustic-graph-proprioception.md",
    "state/spine.yaml"
  ],
  "reference_strategy": {
    "purpose": "Current priority is the utterance parity curriculum: structured utterance metadata -> utterance embedding -> synth automation -> rendered vocal-tract output -> loss. External synths and DSP corpora remain parity pressure for AquaSynth's patch DSL and Faust emitter, but broad synth digestion waits unless it directly improves the speech harness.",
    "priority_order": [
      "IPA/Weksa vocal tract synthesis for phonetic gesture planning, utterance embeddings, synth automation, human and alien tract morphologies, and conlang speech rendering",
      "DX7/Dexed SysEx for FM operator topology",
      "ZynAddSubFX instruments for additive, subtractive, PAD, formant, and layered patches",
      "Faust examples/libraries for general DSP graph topology",
      "Surge XT for modern hybrid synth modulation",
      "Cardinal/VCV-style patches for modular cable/rate semantics"
    ],
    "rule": "For speech, add schema fields and learned-control lanes only when the parity harness has a loss surface that can exercise them. For reference synths, add DSL abstractions only when rebuilds prove the missing invariant. Parsing alone is inventory, not evidence of expressivity. Pink Trombone should be decomposed into reusable low-level Aqua primitives before audio golf, not copied as a bespoke clone or inflated into PT-shaped modules. After the 2026-05-29 proprioception correction, collapse graph-vocal lowering into a small set of instrumented physical primitives before more utterance golf. Gesture motion belongs in ControlSurface/ControlSpline timeline ownership, not primitive-local smoothing; cut any generated contact/port spline that invents motion not supported by primitive reference timelines. Public clients author gestures through ControlSurfaceCatalog plus ControlSplineTimeline and stream surface control dictionaries; higher-level gesture templates and phoneme_gesture are only spline emitters. IPA descriptors seed which anatomical surfaces move, while local datasets golf numeric spline defaults and patch voice code. Training reports must separate gesture_score, clean_vocal_score, and full_parity_score so full-patch recording-condition helpers cannot impersonate articulation. Frozen IPA gesture rounds own candidate scripts, primitive timelines, gesture metrics, manifests, evidence receipts, metric summaries, candidate clusters, and science briefs; `IpaTrialResult` CultCache records own rendered trial outcomes plus extracted primitive timeline facts for contact release, source flow, branch admittance, radiation output, path energy, and passivity. External Codex IPA exploration must query the `.cc` store through the worker's semantic `search`/`show` organ, backed by Qdrant/Ollama vector retrieval when available; Qdrant is a derived index over CultCache and local artifacts, not a second truth. Search reports expose class focus/match and use phonetic class-affinity plus timeline-fact text so agents do not treat generic weak-articulation language as cross-class evidence. Source-edit-enabled IPA rounds may golf DSL syntax, parser/model records, Faust lowering, worker evidence surfaces, and tests when repeated evidence identifies a missing owner; every source edit needs an owner map, invariant, expected metric movement, verification, and rollback trigger. `hypotheses.md` is the hypothesis worker report of record; `hypothesis-agent.md` is only the external agent's final chat summary. Each new round must learn from the previous evaluation: flat/regressed/failed families are falsified until the report states what changed, and family/target assignment must be phonetic-class aligned instead of round-robin. Stop-release families belong on stop and `mix-p` lanes, nasal-branch on nasal/approximant and `mix-m`, frication on fricative and `mix-s`, and vowel/source-shape on vowel-like lanes unless an explicit transfer-test mutation names class-specific controls. IPA parity candidates should model scene voices explicitly: primary articulation, tract noise, release/transient, background-room, and recording-condition. At least one scene/noise or recording-condition family in a source-golf round must use real auxiliary `.aqua` `voice` declarations when claiming helper/background scene modeling. Song-snippet parity is scene-audio pressure: derive tempo with onset autocorrelation, derive register/root/scale hints from the clip, and sequence explicit `param` plus `curve interp=hold loop=true` controls until native Strudel-like scale/note sugar has a real owner. Three song phases showed reusable named roles (`alien-lead-chatter`, `dust-hat-grid`, `codec-bed-hum`, `air-wash-hiss`) can guide agents; role sugar may own brevity/defaults but must lower into explicit params, curves, and voices. General synth primitives are allowed for helper scene voices, but they cannot count as articulation without gesture, primitive timeline, and clean-vocal movement. Crude full-store dumps are audit fallback, not agent memory. Statistical science workers and audio parity stages consume those bundles without rewriting gesture evidence. If gesture scores rise but rendered audio is silent, fix the primitive source/tract owner before adding full-patch dressing."
  },
  "ipa_vocal_tract_path": {
    "status": "This is now the active project center. Roadmap and research notes align the curriculum around structured utterance metadata -> learned utterance embedding -> learned synth automation -> vocal tract/envelope/LFO/filter/spectral controls -> rendered audio loss. The first Core contracts still defend the boundary: PhoneticIntent is the Weksa/language-owned handoff, ArticulatoryPlan is the AquaSynth realization layer, VocalTractMorphology declares anatomy capabilities, ArticulatoryConstraintReport is the host-visible veto surface, and VocalTractPlanResult is the tiny end-to-end proof artifact for host branching. IPA is an authoring input only: tokenization and feature mapping lower into language phonology profiles, timed articulatory gestures, morphology-specific tract/excitation curves, and Faust DSP. The staged support plan starts with tokenization and vowels, then core pulmonic consonants, expanded human IPA, airstream/phonation, and Weksa/alien morphologies. Optional eSpeak NG tests provide the first generated speech workout when ESPEAK_NG or espeak-ng is installed; eSpeak is intelligibility/timing/log-mel pressure, not anatomy truth. AquaSynth owns the learned utterance embedding encoder and synth driver: speech text embeddings plus prosody/emphasis hints plus Ghostlight/Epiphany-shaped character state vectors compress into utterance embeddings, and phonetic features plus that embedding feed a packed-buffer native C# backprop/Adam mapper that predicts tract, AM/FM, LFO, filter, and mel spectral-envelope controls. SpeechBackpropagationPipeline chains the two models: synth-driver target loss returns gradients with respect to its input, slices the utterance-embedding gradient, and updates the utterance encoder from downstream speech loss. The generated ground-truth training fixture renders eSpeak syllables, extracts log-mel evidence, and trains that chained pipeline toward eSpeak-seeded mel/control targets. CultMesh speech training now has payload manifests, peer/lease admission receipts, worker assignment, result collection, and central checkpoint application; workers do not own model updates. Real remote artifact chunk transfer and process supervision remain CultMesh infrastructure surfaces, not AquaSynth workaround territory. IpaGestureExperiment writes frozen descriptor/variant rounds with candidate scripts, primitive timelines, gesture metrics, manifests, and evidence JSONL, then analyzes them into metric summaries, score-band clusters, and a science brief. IpaTrialOrchestrator now writes local five-seed IPA render trials, accepts externally authored candidate scripts through RunCandidateScriptsAsync, writes WAV/report artifacts, evaluator reports, extracted primitive timeline facts, and `ipa-trial-results.cc` CultCache records. `tools/IpaTrialWorker` is the public worker tool for seed/score/search/show/index over the store; search now auto-upserts Qdrant/Ollama evidence chunks including timeline-fact text and returns vector-backed reports, while `tools/run-ipa-trial-loop.ps1` dispatches external Codex hypothesis/evaluator workers around five five-phoneme target sets. The latest seed run improved voiced vowels/nasals after primitive `SourcePort` lowering gained an oscillatory carrier; plosive closure/release remains the next weak owner.",
    "lesson": "Do not build a complete IPA parser before the tract can say basic syllables. The durable machine is tokenizer -> feature mapper -> phonology profile -> gesture planner -> morphology -> tract plan -> Faust renderer, with dependency-injected seams and mocks at each boundary. Weksa should use IPA-like phonetic input without letting human IPA semantics own alien anatomy. Anatomy has veto power: if a morphology lacks bilabial closure or another required capability, AquaSynth reports that failure instead of smearing over it.",
    "next": "Start the next speech gradient descent pass from Weksa's emitted v0.1 seed batch at `E:\\Projects\\weksa\\examples\\speech-training\\tiny-panphon-v0.1\\batch.json`: 1024 bge-m3 semantic speech-text floats, variable-length PanPhon sequence evidence, 256 AquaSynth-owned phonetic-realization embedding floats from `aquasynth.panphon_sequence_encoder.v0.1`, 32 prosody/emphasis floats, 64 projected character-state floats, and 64 AquaSynth utterance-embedding output floats. Keep semantic text embeddings and phonetic realization separate. Next tighten the parity harness: load that batch into AquaSynth training records, render tiny utterance fixtures, sweep controller outputs through compiled Faust controls, score log-mel/timing/envelope loss, record per-stage decision time/latency/budget/confidence receipts, backpropagate into the utterance encoder plus synth driver, and connect Stage 0/1 IPA token spans, vowel feature bundles, and human baseline tract-area targets to that loop. For distributed work, use RunCultMeshTrainingStep as the boring authority path: admitted leased workers return gradients/results, then the trainer applies centrally. Do not attempt federated averaging until this path is exercised against real Faust-rendered speech jobs."
  },
  "dx7_reference_path": {
    "status": "DX7 SysEx parser extracts voice edit buffers, packed voices, packed 32-voice banks, six operators, envelopes, algorithm, feedback, oscillator sync, LFO, transpose, voice name, checksum validation, ReferencePatch features, algorithm topology from the reverse-engineered OPS algorithm ROM table, envelope-to-ADSR approximations, measured carrier output amplitude, isolated two-op modulation route scale, summed/cascaded route scale, calibrated feedback amount table, ratio detune lowering, voice transpose lowering, fixed-frequency operator lowering, ROM COM output compensation cut, operator key/rate scaling at the effective played note, topology-aware route lowering, staged operator envelopes with per-segment curves, raw and block-interpolated DX7 envelope tracing, applied-envelope curved lowering with optional sustain floor, two AquaSynth DSL rebuild attempts, first-class OperatorGraph support with graph-level vibrato, public-domain SysEx fixture coverage, dexed-py reference rendering, project-authored Dexed patch rendering, AquaSynth candidate rendering through Faust-generated C#, one thresholded rendered parity test for analog1.syx voice 13, a hard PRC SYNTH1 parity probe with listening WAV artifacts and log-mel <= 0.145, project-authored algorithm-8 summed-stack/cascade/summed-pair parity, rendered community parity for Mooger, Piano Bass, RES SYNTH1, and ANLGSYN 1 with a sustained high-band gate, a MELLOWSOLO pressure artifact test, and renderable delayed operator feedback.",
    "lesson": "Algorithm 32's additive six-carrier shape maps cleanly to six AquaSynth voices. Algorithm 8 justified OperatorGraph: operators, modulation edges, carriers, feedback, and graph-level pitch motion belong to a graph authority, not Voice fields. The first rendered parity rung is behavioral and sine-like, not exact DX7 operator execution. A harder algorithm-8 target exposed that feedback must be delayed recursion in Faust, not a direct cyclic self-reference. Static DX7 output-level approximation helped import/rebuild math but was mathematically wrong for carrier amplitude. A single-carrier Dexed sweep shows carrier amplitude follows 2^((outputLevel - 99) / 8). Isolated two-op DX7 FM maps full-level modulation to AquaSynth route index 6.275; summed/cascaded algorithm-8 branches now use 6.0 after PRC listening, a project-authored combined stack probe, and split cascade/summed-pair probes showed lower values were under-bright. Feedback lowers through a fitted table instead of PRC-local constants; ANLGSYN 1 showed max feedback value 7 needs a hotter AquaSynth amount 2.2 to recover buzzy high bands, while value 5 remains 0.19 for PRC. ANLGSYN 1 then exposed a sustained-buzz gap: output soft clip helped but did not stop mid-note drift; max-feedback source operators need an applied-envelope sustain floor so the feedback loop stays driven after the attack. ANLGSYN 1's remaining beat is pitch LFO: AMD is nonzero but all operator AMS values are 0, while PMD/PMS lower cleanly to operator-graph vibrato with faded delay. Ratio-mode detune belongs in operator frequency lowering. DX7 voice transpose belongs in graph base frequency: transpose 24 is neutral, transpose 12 lowers MIDI note 60 to 130.8128 Hz. DX7 fixed-frequency operators are absolute Hz, not note ratios; ANLGSYN 1 proved fixed op1/op3 must lower to ratios around 0.007615/0.009227 against a 130.8128 Hz graph base to preserve low buzzing modulation. ROM COM carrier compensation was cut: user listening found no-COM renders harmonically closer and mainly too quiet, so `OperatorOutputCompensation` returns unity and graph gain owns loudness recovery. Operator key-scaling and rate-scaling must lower against the effective played MIDI note after transpose; hardcoded MIDI 60 made RES SYNTH1 too soft on attack and Piano Bass less harmonically accurate. Project-authored Dexed patch rendering now gives lawful calibration targets. Reusing the operator output curve for EG levels was tested and cut because it failed hard-target log-mel; later output-level-dependent and naive traced-release applied-envelope experiments were also cut because they worsened broader parity. Direct envelope tracing shows current linear `env=rl` cannot express DX7 EG spike/drop behavior. Dexed-style audio samples EG once per 64-sample block and interpolates applied gain, so raw EG parity alone is not audio parity. Staged operator envelopes now support linear/exponential segments and supranormal levels. `ApproximateAppliedRateLevelEnvelope` uses that surface and now picks the first near-peak before gate so slower rising modulators hit early instead of swelling late; it can also preserve a floor for max-feedback source sustain. Community gains with no COM and played-note scaling: Mooger 0.75, Piano Bass 0.72, RES SYNTH1 0.75. Algorithm-2 non-carrier applied envelopes currently cap the first peak at 0.92 to prevent ANLGSYN 1/RES SYNTH1 peak blowout while preserving Piano Bass. MELLOWSOLO is a pressure artifact test, not passing parity; its render window is 1.25s so the candidate release is audible instead of cut at the artifact boundary. Mooger needs a more aggressive attack contour, and RES SYNTH1's phase-like attack issue is likely relative operator attack/peak shape because oscillator sync is enabled. PRC remains passing on log-mel/envelope/RMS, with score floor lowered to 0.74 after rate scaling changed the aggregate score.",
    "next": "Use the now-validated algorithm-8 route scale, transpose lowering, and fixed-frequency lowering as fixed inputs while isolating remaining community-voice timbre mismatch, then expand to broader public-domain banks."
  },
  "zyn_reference_path": {
    "status": "Initial ZynInstrumentReader parses plain XML and gzip-compressed .xiz-shaped XML from project-authored fixtures into ZynInstrument records and ReferencePatch features. First Zyn-style AquaSynth rebuilds exist for additive lead, PAD texture, and vocal/formant layer. `ZynInstrumentSurvey` can rank .xiz directories by feature pressure. Named `layer` declarations provide the first Zyn-driven DSL abstraction; additive `harmonics`, PAD `spectrum`, and staged `env=rl` voice envelopes now attach to those layers. Zyn PAD `spectrum` banks can now carry explicit `zyn_mode`, `zyn_bandwidth`, `zyn_bwscale`, `zyn_profile`, and `zyn_position` table-generation fields, and `PadSynthWaveform` lowers those through Zyn-style profile/bandwidth math. The pinned Zyn source now builds as a test-only MSYS2/MinGW oracle through `tools/zyn-reference/build-zyn-reference.ps1`, which patches an ignored artifact source copy, proves `PadNoteTest`, and builds `ZynPadReference`.",
    "lesson": "Start Zyn as structural classification, then move into explicit scoped rebuilds. Upstream Zyn presets live in a nested GPL instrument-bank submodule and may be used as test-only parity/pressure feedstock once provenance is recorded. The ZynAddSubFX engine source is pinned as GPL test/development material under `external/zynaddsubfx` at 3ab608c432996ba4d582176572c0b0f82328c825; use it as a parity oracle only, never as AquaSynth runtime or NuGet package content. Zyn build fixes belong in `tools/zyn-reference/patches/` and apply to ignored artifact copies, not the clean pinned submodule. The PAD oracle now renders both generated PAD sample tables and note audio through Zyn `PADnoteParameters`/`PADnote`; optional parity artifacts live under `artifacts/parity/zyn-pad-reference` and `artifacts/parity/zyn-pad-fixtures`. The first project-authored PAD comparison proved the harness and showed AquaSynth `spectrum` was not a close Zyn PAD emulation. User listening identified Zyn as pure wineglass and AquaSynth as angry bees. Cutting unearned air/noise/drive/soft-clip from the rebuild, adding interpolated wavetable reads, and raising AquaSynth spectral tables to Zyn's 131072-frame PAD size improved the report. A later pitch/drone pass split PAD table root from playback note frequency: `spectrum root=...` owns table/base frequency and `freq=...` owns the played note. Using Zyn's reported sample basefreq 77.7813 while playing 261.6256, removing gratuitous spread/vibrato, collapsing two same-note PAD voices into one coherent spectral table, and trimming gain improved the report to log-mel 0.35669, envelope 0.347572, RMS ratio 1.001704, centroid ratio 1.004072, score 0.6211. The first PAD fixture survey shows `pad-pure` and the old `pad-texture` render identically through Zyn, so the filter/category XML in `pad-texture` is not live pressure for this oracle path. `pad-harmonic` changes the source table and note output through explicit OSCIL harmonics, making it the next real PAD reference rung. The remaining gap is source-table/profile and envelope semantics, not more decorative patch layers. The report now also emits source-table WAVs for listening. The hardened reader parses the upstream GPL instrument bank at commit c5c912131b31df5fdf372d2f06a25aaf2375837f: 1318/1318 .xiz files; optional tests write a ranked report, a handled/counted/unknown coverage map, and five upstream PAD listening fixtures under ignored artifacts. Coverage currently says PAD is the strongest exercised path, while ADD, SUB, active LFO routing, free envelopes, formant motion, effects, PAD formant/peak/shelf filters, and several PAD OscilGen filter/waveshaper subtypes remain workout buckets. Native AquaSynth filters now include `bpf` and `notch`; Zyn PAD analog and state-variable LP/HP/BPF/notch filters lower through existing cutoff/order/Q fields. `RebuildFirstPadAsAquaSynthScript` now generates first-pass per-preset PAD `.aqua` candidates from the first enabled PAD kit item, OSCIL harmonic magnitudes, oracle-reported table base frequency, basic volume, and simple rate/level envelope scaffolding while reporting missing bandwidth/profile/filter semantics. The worst target is `olivers-100/0032-Drum Kit.xiz`, with 16 enabled kit items, mixed ADD/SUB/PAD engines, 106 envelopes, 25 free envelopes, 73 LFOs, 37 filters, and 3 formant filters. The first rebuilds show AquaSynth can sketch small Zyn fixtures with existing voices/macros/formants/noise, and the upstream survey correctly pushed named kit/layer routing first. `layer` owns name, engine tag, optional key range metadata, default gain, and effect-send labels while lowering to ordinary voices. `harmonics` owns authored ratio/gain partial banks under those layers. `spectrum` owns PAD-style root/spread/partial clouds under named layers and generated table base frequency; playback `freq` remains note authority. Staged `env=rl` now applies to voices as well as operators, preserving Note as gate authority and envelope data as level-shape authority. AquaSynth still does not claim Zyn ADDsynth phase/bandwidth details, full Zyn PAD harmonic-profile/randomness/pitch-zone behavior, arbitrary free-envelope point curves, or richer formant morphing.",
    "next": "Continue Zyn PAD parity from the sampled OscilGen stage-order, multi-kit PAD, Zyn-curve static global-filter, low-pass/high-pass order, PAD frequency-detune, low-pass/high-pass filter-envelope, logarithmic Zyn envelope-time, generated Zyn PAD output-calibration, low-pass note tracking, explicit low-pass Q, Q+order cascade, one-based OscilGen oscillator-filter index, base-function-7 selected-table-root, base-function phase modulation, and adaptive-harmonics paths. Ghost Ensemble now expands its power-base multi-harmonic OscilGen source, applies Zyn filter note tracking from `freq_track`, emits `lpf_q` from the Zyn analog filter `q`, and preserves low-pass slope by cascading resonant Faust stages according to `lpf_order`; latest Ghost log-mel is 0.369402, envelope distance is 0.363685, RMS ratio is 1.054875, centroid ratio is 1.006808, and score is 0.57229. DoublePadBass is accepted by ear and latest survey reports log-mel 0.247674, envelope distance 0.208351, RMS ratio 0.888011, score 0.650319. Soft Pad is accepted by ear. Organ Choir now maps kit0 HP2/stage/filter-envelope motion and kit1's selected table root, `base_function_modulation=1`, and `adaptive_harmonics=1`; latest Organ log-mel is 0.471483, envelope distance 0.302978, RMS ratio 0.878, centroid ratio 1.011328, and score 0.541933. Its kit1 PAD table energy now matches the wind-body shape much more closely: 400-800 Hz 0.2713 vs Zyn 0.2780 and 8-16 kHz 0.1471 vs Zyn 0.1355. ZynPadReference has test-only `harmonics` and `selected` modes; selected roots are diagnostic/source-specific, not a global default, because global selected roots regressed accepted DoublePadBass. sin2x remains loud/concentrated after the one-based filter-index fix, so do not claim full Zyn PAD parity until broader OscilGen filtering/waveshaping/adaptive-harmonic behavior and note/global filter LFO ownership are mapped or deliberately excluded."
  },
  "note_and_envelope_model": {
    "rule": "Notes own frequency, gate duration, and host/MIDI source. Envelopes own ADSR level shape.",
    "sfxr_mapping": "SFXR sustain is note gate duration. SFXR punch maps to lower ADSR sustain level plus voice gain compensation so the implicit attack peak stays at 1 and the held level sits below it.",
    "faust_surface": "One-shot patches use generated ADSR over patch age and note gate duration. MIDI mono/poly patches emit Faust's standard freq/gain/gate controls and [midi:on][nvoices:n] metadata so Faust architectures own note allocation."
  },
  "runtime_parameters": {
    "rule": "Patch parameters are runtime controls, not compile-time constants.",
    "faust_surface": "Faust UI controls expose parameter zones that hosts can update with setParamValue/getParamValue-style APIs.",
    "aquasynth_requirement": "AquaSynth DSL patches declare stable exposed parameters with path/default/min/max/step metadata so callers can vary sound without recompiling.",
    "binding_rule": "Parameter binding uses field-site references such as `lpf=@/macro/brightness` and `/opgraphs/0/operators/2/level`; the field owns meaning and the parameter owns the runtime value. Avoid target-routing semantics unless a new graph authority is deliberately mapped."
  },
  "last_verified": {
    "command": "dotnet build tools\\IpaTrialWorker\\IpaTrialWorker.csproj --no-restore --disable-build-servers -p:UseSharedCompilation=false -p:BuildInParallel=false -v minimal; dotnet run --project tools\\IpaTrialWorker\\IpaTrialWorker.csproj --no-build -- song-prepare --source \"D:\\Music\\Reinier\\Heyoka\\Gate Code\\Heyoka - Alien Gibberish.mp3\" --artifact-root artifacts\\parity\\song-snippet-smoke --duration-seconds 10 --seed 123 --output artifacts\\parity\\song-snippet-smoke\\challenge.json; powershell -NoProfile -ExecutionPolicy Bypass -File tools\\run-song-snippet-trial-swarm.ps1 -Passes 0 -Seed 123 -DurationSeconds 10; dotnet run --project tools\\IpaTrialWorker\\IpaTrialWorker.csproj --no-build -- song-score --patch-root artifacts\\parity\\song-snippet-score-smoke\\candidates --challenge artifacts\\parity\\song-snippet-smoke\\challenge.json --artifact-root artifacts\\parity\\song-snippet-score-smoke --batch-id smoke-001 --store artifacts\\parity\\song-snippet-score-smoke\\song-trial-results.cc --hypothesizer smoke-song-worker",
    "result": "Three-phase song-snippet experiment across different seeded segments completed under artifacts/parity/song-snippet-swarms/20260531T014033022. Best log-mel cosine improved to 0.380805 through formant/noise scene roles, still pressure rather than close parity.",
    "commit": "pending song-snippet phase evidence"
  }
}