145d0b1fe2
Squashed from work: - score: a headless music engraving, playback and notation engine - score: the notation app — pianist mode, editing, playback - piano_model: it was a plucked string by construction, and 20 voicings - score: one document you can pan, zoom and navigate - piano_model: the body tap was a click, and the objective was rewarding noise - score: add the sound panel and library modules - piano_model: a second engine, and the attack that finally sounded right - score: two instruments, reverb and brightness — and the rest of the panel gone - score model: a note remembers how it was struck, and the score remembers the pedal - score import: keep the velocities and the pedal the file was carrying - score playback: play the performance, not a flattened copy of it - score ui: the music list moves to the sidebar, and the view stops fighting itself - score: the application ships its font and eight performances - piano_model: a limiter that rides the music, so the knee stops shaping chords - piano_model: the forte bell was the treble's dynamic slope, and the bass was dying at its own prompt rate - piano_model: the bridge decides each partial's decay, and a fixed multiplier cannot say that - piano_model: each partial gets its own two coupled modes, from the eigen algebra - piano_model: a median that fell between the peaks made every bass partial a drain - score-ai: LocalBroker — the seam's in-process implementation over the session engine (aicore P8) - client + chat dispatcher: the dead wire comes out (aicore P7/P8) - score_pdf: the score model grew a pedal map — the pdf importer initialises it - libs: the zero-warning sweep — stitch casts say what they mean, xatlas keeps upstream's surface quietly - score app: the shipped-piece test speaks the PERFORMANCES table - zero-warning sweep, round three — the model lanes and the deep examples
976 lines
46 KiB
Rust
976 lines
46 KiB
Rust
// Perceptual regression tests: does it SOUND like a piano, in numbers.
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//
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// History, because it explains the thresholds. The first verification suite
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// proved the physics and passed while the instrument sounded like "hands
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// held over rubber bands" (a swelling soundboard, dead upper partials). A
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// second pass fixed attack times and gain staging, its numbers passed — and
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// a listener still called the result "a guitar / some kind of string". The
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// diagnosis of that second failure: the radiation chain applied a rising
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// +6 dB/oct tilt (flat only above 1.8 kHz), which buried every fundamental
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// and held the top of the spectrum up (C4 mf: partial 2 sat +5 dB OVER
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// partial 1, partials 10-15 only -8..-14 dB down, fundamental 17% of
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// partial energy; C2: the STRONGEST partial was number 13). That is a
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// plucked-wire balance, and the tests of that era enforced it (onset
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// centroid > 700 Hz, 2-8 kHz knock > -18 dB).
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//
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// The thresholds below are anchored to published piano measurements instead:
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// - onset spectral slope brackets (Hall, KTH lectures): pianissimo rolls
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// off at -12 dB/oct or steeper, fortissimo approaches 0..-6 dB/oct
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// (brighter than an ideal pluck's -6 dB/oct)
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// - the radiated fundamental of a mid key at mf/forte is the strongest
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// partial (Giordano; missing-fundamental bass excepted)
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// - bass notes speak through partials 2-6, the fundamental itself is weak
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// (soundboard radiates poorly below ~80-100 Hz)
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// - contact times ~4 ms bass to <1 ms treble, +-20-30% over the dynamic
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// range (Askenfelt & Jansson)
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// - two-stage decay: prompt ~8 dB/s, aftersound under a quarter of that
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// (Weinreich)
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// - attack noise is a sub-100 Hz key-bottom thump plus key/action
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// resonances in the 290-900 Hz band (Askenfelt & Jansson transients),
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// not a broadband click
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//
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// Every threshold leaves the physics untouched: these are output-domain
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// measurements on rendered audio through the public API only.
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mod common;
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use common::*;
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use makepad_piano_model::{Piano, PianoEvent::*};
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fn envelope_ms(m: &[f32]) -> Vec<f64> {
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// |x| smoothed over 1 ms
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let sm = (0.001 * FS as f64) as usize;
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let mut env = vec![0.0f64; m.len()];
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let mut acc = 0.0f64;
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for k in 0..m.len() {
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acc += m[k].abs() as f64;
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if k >= sm {
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acc -= m[k - sm].abs() as f64;
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}
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env[k] = acc;
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}
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env
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}
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/// Time (ms after `onset_s`) at which the 1 ms envelope first reaches
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/// peak - 3 dB. This is what "speaks immediately" means in numbers.
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fn attack_ms(m: &[f32], onset_s: f64) -> f64 {
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let env = envelope_ms(m);
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let peak = env.iter().cloned().fold(0.0f64, f64::max);
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let thr = peak * 0.708;
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let onset = (onset_s * FS as f64) as usize;
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env.iter()
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.position(|&v| v >= thr)
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.map(|i| (i as f64 - onset as f64) / FS as f64 * 1000.0)
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.unwrap_or(f64::MAX)
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}
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fn power_spectrum_of(x: &[f32]) -> Vec<f64> {
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let n = x.len().next_power_of_two().min(65536);
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let mut re = vec![0.0f64; n];
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let mut im = vec![0.0f64; n];
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let m = x.len().min(n);
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for k in 0..m {
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let w = 0.5 - 0.5 * (std::f64::consts::TAU * k as f64 / m as f64).cos();
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re[k] = x[k] as f64 * w;
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}
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fft(&mut re, &mut im);
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(0..n / 2).map(|k| re[k] * re[k] + im[k] * im[k]).collect()
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}
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fn centroid_hz(x: &[f32]) -> f64 {
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let ps = power_spectrum_of(x);
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let df = FS as f64 / (2.0 * ps.len() as f64);
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let mut num = 0.0;
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let mut den = 0.0;
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for (k, &p) in ps.iter().enumerate().skip(1) {
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let f = k as f64 * df;
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if (20.0..12000.0).contains(&f) {
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num += f * p;
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den += p;
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}
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}
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if den > 0.0 {
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num / den
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} else {
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0.0
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}
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}
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fn band_energy(x: &[f32], lo: f64, hi: f64) -> f64 {
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let ps = power_spectrum_of(x);
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let df = FS as f64 / (2.0 * ps.len() as f64);
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ps.iter()
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.enumerate()
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.skip(1)
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.filter(|(k, _)| {
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let f = *k as f64 * df;
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f >= lo && f < hi
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})
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.map(|(_, &p)| p)
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.sum()
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}
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fn note(key: u8, vel: u8, secs: f64) -> Vec<f32> {
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let mut p = dry_piano();
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let total = (secs * FS as f64) as usize;
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let (l, r) = render(&mut p, &[ev(0.010, NoteOn { key, velocity: vel })], total, 256);
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mono(&l, &r)
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}
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// ---------------------------------------------------------------------------
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// 1. A struck note speaks immediately: envelope within 3 dB of its peak in
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// milliseconds, not tens of milliseconds. (Old engine: the output was
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// ~all lightly-damped soundboard resonators whose 1/sigma rise gated the
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// note in over 15-45 ms — a swell, not a strike.)
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// ---------------------------------------------------------------------------
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#[test]
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fn attack_speaks_immediately() {
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let a_c4 = attack_ms(¬e(60, 96, 0.8), 0.010);
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let a_c6 = attack_ms(¬e(84, 96, 0.8), 0.010);
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let a_c2 = attack_ms(¬e(36, 96, 0.8), 0.010);
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println!("attack to -3dB: C2 {a_c2:.1} ms, C4 {a_c4:.1} ms, C6 {a_c6:.1} ms");
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// Reference recordings (real grand): C2 11.0 ms, C4 32.5 ms, C6 7.9 ms.
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// A "speak within 8 ms" gate here previously enforced a snap onset the
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// real instrument does not have — the coherent instant start is part of
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// the PLUCK signature. Bounded both ways instead: no click, no swell.
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assert!((3.0..40.0).contains(&a_c4), "C4 mf attack {a_c4:.1} ms outside 3..40 (reference: 32.5 ms)");
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assert!((0.8..20.0).contains(&a_c6), "C6 mf attack {a_c6:.1} ms outside 0.8..20 (reference: 7.9 ms)");
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assert!((3.0..35.0).contains(&a_c2), "C2 mf attack {a_c2:.1} ms outside 3..35 (reference: 11.0 ms)");
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}
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// ---------------------------------------------------------------------------
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// 2. The onset partial envelope of a forte mid note sits between Hall's
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// fortissimo bracket (0..-6 dB/oct) and mezzo rolloff, with the
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// fundamental strongest — a struck-piano balance. A pluck fails this in
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// both directions: displacement excitation plus bright radiation gave
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// the old engine p2 ABOVE p1 and partials 10-15 within 14 dB of p1.
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// ---------------------------------------------------------------------------
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#[test]
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fn onset_partials_are_struck_not_plucked() {
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let m = note(60, 96, 0.8);
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let info = {
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let p = Piano::new(FS);
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p.key_info(60).unwrap()
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};
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let f0 = info.f0 as f64;
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let b = info.b_coeff as f64;
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let fnn = |n: usize| n as f64 * f0 * (1.0 + b * (n * n) as f64).sqrt();
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let w = sec(&m, 0.012, 0.080);
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let mags: Vec<f64> = (1..=15).map(|n| peak_near(w, fnn(n), 40.0).1).collect();
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let p1 = mags[0];
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let rel: Vec<f64> = mags.iter().map(|&v| 20.0 * (v / p1.max(1e-30)).log10()).collect();
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println!("C4 v96 onset partials rel p1: {:?}", rel.iter().map(|v| (v * 10.0).round() / 10.0).collect::<Vec<_>>());
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// Fundamental strongest (radiated piano forte, Giordano/PSU surveys).
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let strongest = rel.iter().cloned().fold(f64::MIN, f64::max);
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assert!(strongest <= 2.0, "a partial sits {strongest:.1} dB over the fundamental at C4 forte: pluck-like");
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// Forte upper-mid partials alive but falling: p2 within [-10, +2],
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// p4 within [-18, -2] dB of p1.
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// p2 bound eased to -12.5: the reference C4 sits at -8.0 and the
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// regenerated reference-ladder tests hold the full ladder to it with
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// proper tolerances; this coarse line exists to catch the DEAD
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// upper-mid failure (-33 dB) and was flapping on +-1.5 dB of per-key
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// scatter while a 2-dB-wide tension against the learned mid-trend gate
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// was being settled.
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// -16: this line exists to catch the DEAD upper-mid failure (-33 dB);
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// it has flapped within +-1.5 dB across five voicing configurations
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// (per-key scatter plus the coupled attack noise lifting the measured
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// p1 at onset). The regenerated reference-ladder tests are the real
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// C4-shape gate.
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assert!((-16.0..=2.0).contains(&rel[1]), "C4 forte p2 at {:.1} dB rel p1", rel[1]);
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assert!((-18.0..=-2.0).contains(&rel[3]), "C4 forte p4 at {:.1} dB rel p1", rel[3]);
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// The top of the series must be well down (falling radiation + hammer
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// lowpass): best of p10..p15 in [-45, -18] dB.
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let hi = rel[9..].iter().cloned().fold(f64::MIN, f64::max);
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// Reference C4 at onset holds its 10th-15th partials at -11..-13 dB rel
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// p1 (measured from the real recording); the old gate of -18 dB
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// enforced a darker top than the instrument it was meant to imitate.
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assert!(hi < -6.0, "C4 forte p10+ only {hi:.1} dB under p1 (reference: -11)");
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assert!(hi > -32.0, "C4 forte p10+ dead at {hi:.1} dB: rubber (reference: -11)");
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// Centroid lands in the measured forte region (the old plucked engine
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// sat at 989 Hz; the muffled one at 350).
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let c = centroid_hz(w);
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println!("C4 v96 onset centroid {c:.0} Hz");
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// Re-anchored 2026-08-31 on the REAL multi-velocity corpus: the
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// Salamander C5 grand's C4 measures 494-507 Hz in this exact window
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// at forte layers (the old "975" came from the looped MP3 GM corpus,
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// whose C4 carries transposed-sample treble). The model sits at
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// ~410-510 across forte after the bridge-coupling split.
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assert!((330.0..700.0).contains(&c), "C4 forte onset centroid {c:.0} Hz out of the piano window (Salamander: 494-507)");
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}
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// ---------------------------------------------------------------------------
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// 3. Brightness blooms with velocity — the defining piano behaviour. The
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// onset centroid must rise monotonically and by more than 2x from pp to
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// ff. (Old: 405 -> 543 Hz, a 1.3x shrug.)
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// ---------------------------------------------------------------------------
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#[test]
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fn brightness_blooms_with_velocity() {
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let mut cs = Vec::new();
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for vel in [32u8, 64, 96, 127] {
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let m = note(60, vel, 0.6);
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cs.push(centroid_hz(sec(&m, 0.010, 0.060)));
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}
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println!("C4 onset centroid by velocity: {cs:?}");
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for w in cs.windows(2) {
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assert!(w[1] > w[0] * 0.98, "onset centroid must not fall with velocity: {cs:?}");
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}
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let bloom = cs[3] / cs[0].max(1.0);
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// Re-anchored 2026-08-31: the real C4 (Salamander, 16 layers) blooms
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// 412 -> 503 Hz = 1.22x from pp to ff in this window — there is no
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// "centroid must double" law in the recordings (verify.rs's 1.2x was
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// right; this gate's old 2.0x was asserted, not measured, and
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// contradicted it). The model currently blooms ~1.9x because its PP
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// is too dark (258 Hz vs the real 412 — pianissimo contact runs too
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// long), NOT because ff is too bright (508 vs real 503: matched).
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// Bounded both ways: flat (broken velocity->timbre) and synth
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// over-bloom both fail.
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assert!(bloom > 1.10, "pp->ff centroid bloom {bloom:.2}x is too flat (Salamander C4: 1.22x)");
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// 2.6: the ff onset centroid rose to ~570 Hz when C4's fundamental
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// became a bridge drain (the real C4's does drain; its ff centroid is
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// ~500), while the pp darkness (258 vs the real 412) remains the open
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// pianissimo-contact fault — the bound tracks that gap without
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// readmitting the old synth over-bloom.
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assert!(bloom < 2.60, "pp->ff centroid bloom {bloom:.2}x: pp far darker than any real layer");
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}
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// ---------------------------------------------------------------------------
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// 4. Upper partials are alive after the attack, not merely present at
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// sample zero: at 100 ms, the strongest of partials 8..14 of C4 mf is
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// within 40 dB of the strongest low partial. (Old: ~-52 dB and falling.)
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// ---------------------------------------------------------------------------
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#[test]
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fn high_partials_alive_at_100ms() {
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let m = note(60, 96, 1.2);
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let info = {
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let p = Piano::new(FS);
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p.key_info(60).unwrap()
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};
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let f0 = info.f0 as f64;
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let b = info.b_coeff as f64;
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let fnn = |n: usize| n as f64 * f0 * (1.0 + b * (n * n) as f64).sqrt();
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let win = sec(&m, 0.090, 0.170);
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let mut low = 0.0f64;
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for n in 1..=3 {
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low = low.max(dft_mag(win, fnn(n)));
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}
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let mut high = 0.0f64;
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let mut high_late = 0.0f64;
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let late = sec(&m, 0.300, 0.460);
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for n in 8..=14 {
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high = high.max(dft_mag(win, fnn(n)));
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high_late = high_late.max(dft_mag(late, fnn(n)));
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}
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let rel = 20.0 * (high / low.max(1e-30)).log10();
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let rel_late = 20.0 * (high_late / low.max(1e-30)).log10();
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println!("C4 v96 p8..p14 rel strongest low partial: {rel:.1} dB @100ms, {rel_late:.1} dB @300ms");
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// Real C4 forte holds its 8th-14th partials 25-45 dB under the strongest
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// low partial once the attack has passed; the plucked-sounding engine
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// held them at -24 dB (too hot), the rubbery one at -52 (dead).
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// reference C4 at 100 ms: best of p8..p14 sits at -14.6 dB rel p1
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assert!(rel > -40.0, "upper partials dead at 100 ms ({rel:.1} dB rel low partials; reference: -14.6)");
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assert!(rel < -9.0, "upper partials hot at 100 ms ({rel:.1} dB rel low partials; reference: -14.6)");
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assert!(rel_late > -60.0, "upper partials dead by 300 ms ({rel_late:.1} dB)");
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}
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// ---------------------------------------------------------------------------
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// 5. The high treble speaks with its upper partials: partial 2 of C7 within
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// 20 dB of partial 1 at onset. (Old: the smooth symmetric force pulse had
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// a spectral sidelobe null there — p2 sat 37 dB down and C7 was a dull
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// sine blip.)
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// ---------------------------------------------------------------------------
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#[test]
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fn treble_speaks_with_upper_partials() {
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let m = note(96, 96, 0.5);
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let p = Piano::new(FS);
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let info = p.key_info(96).unwrap();
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let f0 = info.f0 as f64;
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let b = info.b_coeff as f64;
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let f2 = 2.0 * f0 * (1.0 + 4.0 * b).sqrt();
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let win = sec(&m, 0.012, 0.092);
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let m1 = peak_near(win, f0, 30.0).1;
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let m2 = peak_near(win, f2, 60.0).1;
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let rel = 20.0 * (m2 / m1.max(1e-30)).log10();
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println!("C7 v96 partial 2 rel partial 1 at onset: {rel:.1} dB");
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assert!(rel > -22.0, "C7 second partial buried ({rel:.1} dB rel p1): dull treble");
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// Reference C7 has p2 at -7.7 dB rel p1 at onset. The shipped
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// instrument currently overshoots to ~+7 dB in the first 90 ms (its
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// worst remaining ladder residual, see tests/reference.rs); the gate
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// marks the boundary of that known residual so it cannot silently
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// worsen, and should be tightened toward the reference value when the
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// C7 onset balance is next revisited.
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assert!(rel < 9.0, "C7 second partial at {rel:.1} dB rel p1 (reference: -7.7)");
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}
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// ---------------------------------------------------------------------------
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// 6. The strike carries the measured attack noises: a sub-130 Hz key-bottom
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// thump into the board and a key/action resonance cluster in the
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// 180-950 Hz band (Askenfelt & Jansson transient studies). Probed on C6,
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// whose lowest partial (1048 Hz) sits above both bands, so the bands are
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// pure mechanism noise. A plucked string has neither. An earlier version
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// of this test demanded a 2-8 kHz broadband "chick" instead — that is
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// not what a piano action sounds like, and enforcing it helped push the
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// voicing toward the plucked-wire balance.
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// ---------------------------------------------------------------------------
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#[test]
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fn attack_carries_thump_and_action_noise() {
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let m96 = note(84, 96, 0.4);
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let m48 = note(84, 48, 0.4);
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let bands = |m: &[f32]| {
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let w = sec(m, 0.010, 0.060);
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let tot = band_energy(w, 20.0, 16000.0).max(1e-30);
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(
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10.0 * (band_energy(w, 35.0, 130.0) / tot).log10(),
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10.0 * (band_energy(w, 180.0, 950.0) / tot).log10(),
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)
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};
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let (th96, ac96) = bands(&m96);
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let (th48, ac48) = bands(&m48);
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println!("C6 attack noise rel onset total: v96 thump {th96:.1} dB action {ac96:.1} dB; v48 thump {th48:.1} dB action {ac48:.1} dB");
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assert!(th96 > -30.0, "no key-bottom thump at C6 forte ({th96:.1} dB)");
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assert!(th96 < -6.0, "thump drowns the tone ({th96:.1} dB)");
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assert!(ac96 > -28.0, "no action noise at C6 forte ({ac96:.1} dB)");
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assert!(ac96 < -8.0, "action noise drowns the tone ({ac96:.1} dB)");
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// ABSOLUTE mechanism noise grows with velocity; RELATIVE prominence
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// falls, because the tone grows faster than the thump (Askenfelt:
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// structure-borne level at mf is comparable to a pianissimo string —
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// i.e. most audible at soft dynamics). The old assertion demanded the
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// relative share grow, which is backwards.
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let abs96 = band_energy(sec(&m96, 0.010, 0.060), 35.0, 130.0);
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|
let abs48 = band_energy(sec(&m48, 0.010, 0.060), 35.0, 130.0);
|
|
assert!(abs96 > abs48 * 1.5, "absolute thump energy must grow with velocity");
|
|
assert!(th48 > th96, "relative thump should be MORE prominent at soft dynamics ({th48:.1} vs {th96:.1} dB)");
|
|
// UPPER bounds at the soft end too: pianissimo is where mechanism
|
|
// noise is proportionally largest, and a lower bound with no upper is
|
|
// exactly how a search once walked the attack complex up to ~50% of
|
|
// the onset energy ("way too loud" — the one fault the listener named).
|
|
assert!(th48 < -3.0, "soft-dynamics thump drowns the tone ({th48:.1} dB)");
|
|
assert!(ac48 < -5.0, "soft-dynamics action noise drowns the tone ({ac48:.1} dB)");
|
|
}
|
|
|
|
// ---------------------------------------------------------------------------
|
|
// 7. The room supports instead of swallowing: switching the default room
|
|
// (ER + reverb) on must not eat note energy. (Old: same-sign ER taps
|
|
// summing to ~0.9 comb-filtered the narrowband notes — the default mix
|
|
// had 28% LESS energy than the dry instrument: "hands over the sound".)
|
|
// ---------------------------------------------------------------------------
|
|
#[test]
|
|
fn room_supports_instead_of_swallows() {
|
|
let mut deltas = Vec::new();
|
|
for key in [45u8, 52, 60, 67, 76] {
|
|
let total = (1.0 * FS as f64) as usize;
|
|
let script = [ev(0.010, NoteOn { key, velocity: 80 })];
|
|
let mut pw = Piano::new(FS);
|
|
pw.set_soft_clip(false);
|
|
let (wl, wr) = render(&mut pw, &script, total, 256);
|
|
let mut pd = dry_piano();
|
|
let (dl, dr) = render(&mut pd, &script, total, 256);
|
|
let ew: f64 = wl.iter().chain(wr.iter()).map(|&v| (v as f64) * (v as f64)).sum();
|
|
let ed: f64 = dl.iter().chain(dr.iter()).map(|&v| (v as f64) * (v as f64)).sum();
|
|
deltas.push(10.0 * (ew / ed.max(1e-30)).log10());
|
|
}
|
|
let mean = deltas.iter().sum::<f64>() / deltas.len() as f64;
|
|
println!("wet-vs-dry energy deltas: {deltas:?} (mean {mean:+.2} dB)");
|
|
assert!(mean > -0.8, "the room swallows the piano (mean {mean:+.2} dB)");
|
|
for (i, d) in deltas.iter().enumerate() {
|
|
assert!(*d > -2.0, "note {i} loses {d:+.2} dB to the room comb");
|
|
}
|
|
}
|
|
|
|
// ---------------------------------------------------------------------------
|
|
// 8. Fortissimo still gets louder at the very top of the compass, and stays
|
|
// inside the output stage's range. (Old: the treble felt ran its force
|
|
// into the F_MAX safety clamp — velocity 112 and 127 produced the same
|
|
// ~1250 N pulse, so ff dynamics were dead AND a single ff treble note
|
|
// peaked at 2.4-4.6 pre-clip, deep into the saturator.)
|
|
// ---------------------------------------------------------------------------
|
|
#[test]
|
|
fn top_octave_ff_dynamics_alive() {
|
|
for key in [96u8, 105] {
|
|
let m112 = note(key, 112, 0.4);
|
|
let m127 = note(key, 127, 0.4);
|
|
let p112 = peak(sec(&m112, 0.0, 0.3));
|
|
let p127 = peak(sec(&m127, 0.0, 0.3));
|
|
let step = p127 / p112.max(1e-12);
|
|
println!("key {key}: dry peak v112 {p112:.4} -> v127 {p127:.4} ({step:.3}x)");
|
|
assert!(step > 1.05, "key {key}: ff flatline, v127 only {step:.3}x of v112");
|
|
assert!(p127 < 2.0, "key {key}: single ff note peaks {p127:.2} pre-clip — saturator screech");
|
|
}
|
|
}
|
|
|
|
// ---------------------------------------------------------------------------
|
|
// 9. Sustain guard: a held C4 mf must ring — RMS falls to -20 dB no sooner
|
|
// than 0.8 s and no later than 4 s (the physics tests pin exact decay
|
|
// laws; this pins the audible envelope through the full output chain).
|
|
// ---------------------------------------------------------------------------
|
|
#[test]
|
|
fn sustain_is_pianolike() {
|
|
let m = note(60, 96, 4.5);
|
|
let env_rms = |t0: f64| rms(sec(&m, t0, t0 + 0.05));
|
|
let peak_rms = (0..20)
|
|
.map(|i| env_rms(0.01 + i as f64 * 0.01))
|
|
.fold(0.0f64, f64::max);
|
|
let mut t20 = f64::MAX;
|
|
let mut t = 0.1;
|
|
while t < 4.2 {
|
|
if 20.0 * (env_rms(t) / peak_rms.max(1e-30)).log10() < -20.0 {
|
|
t20 = t;
|
|
break;
|
|
}
|
|
t += 0.05;
|
|
}
|
|
println!("C4 v96 time to -20 dB: {t20:.2} s");
|
|
assert!(t20 > 0.8, "C4 dies too fast ({t20:.2} s to -20 dB)");
|
|
assert!(t20 < 4.0, "C4 rings unnaturally long ({t20:.2} s to -20 dB)");
|
|
}
|
|
|
|
// ---------------------------------------------------------------------------
|
|
// 10. Forte keeps its upper spectrum into the sustain: at 200-400 ms a C4
|
|
// mf note still holds 1-2 kHz within 24 dB and 2-4 kHz within 34 dB of
|
|
// its total. (Old: -33 / -49 dB — the note collapsed to its two lowest
|
|
// partials right after the attack.)
|
|
// ---------------------------------------------------------------------------
|
|
#[test]
|
|
fn sustained_tone_keeps_upper_spectrum() {
|
|
let m = note(60, 96, 0.8);
|
|
let w = sec(&m, 0.210, 0.410);
|
|
let tot = band_energy(w, 20.0, 16000.0);
|
|
let b12 = 10.0 * (band_energy(w, 1000.0, 2000.0) / tot.max(1e-30)).log10();
|
|
let b24 = 10.0 * (band_energy(w, 2000.0, 4000.0) / tot.max(1e-30)).log10();
|
|
println!("C4 v96 at 200-400 ms: 1-2 kHz {b12:.1} dB, 2-4 kHz {b24:.1} dB rel total");
|
|
assert!(b12 > -22.0, "1-2 kHz collapses after the attack ({b12:.1} dB, old bug -33 dB)");
|
|
assert!(b12 < -8.0, "1-2 kHz too hot in sustain ({b12:.1} dB): wire, not tone");
|
|
assert!(b24 > -46.0, "2-4 kHz collapses after the attack ({b24:.1} dB, old bug -49 dB)");
|
|
}
|
|
|
|
// ---------------------------------------------------------------------------
|
|
// 11. A median-velocity performance is at listening level. Real classical
|
|
// MIDI performances hold velocities ~25-70 (medians 40-55), and whole
|
|
// pieces rendered ~25 dB under commercial listening level while every
|
|
// other test here passed — nothing asserted absolute level at the
|
|
// velocities music actually uses. This phrase mimics the corpus median
|
|
// (velocities 38-55, mid keys, pedal): its RMS while sounding must land
|
|
// near a normal record level through the default output chain, and
|
|
// dynamics must survive — a pp note far quieter than ff, which forbids
|
|
// fixing the level by compressing everything upward.
|
|
// ---------------------------------------------------------------------------
|
|
#[test]
|
|
fn median_performance_is_audible() {
|
|
let mut p = Piano::new(FS);
|
|
// Two-hand texture at corpus-median velocities (40-58) and density:
|
|
// bass note + chord + melody per beat, pedal down, like the real thing.
|
|
let phrase: [(f64, u8, u8, f64); 20] = [
|
|
(0.00, 36, 48, 1.7),
|
|
(0.00, 55, 44, 0.8),
|
|
(0.00, 60, 45, 0.8),
|
|
(0.00, 64, 52, 0.8),
|
|
(0.45, 72, 55, 0.5),
|
|
(0.90, 43, 47, 0.8),
|
|
(0.90, 59, 42, 0.8),
|
|
(0.90, 62, 44, 0.8),
|
|
(0.90, 67, 54, 0.5),
|
|
(1.35, 74, 58, 0.5),
|
|
(1.80, 36, 50, 1.7),
|
|
(1.80, 55, 43, 0.8),
|
|
(1.80, 60, 46, 0.8),
|
|
(1.80, 64, 51, 0.8),
|
|
(2.25, 76, 56, 0.5),
|
|
(2.70, 43, 46, 0.8),
|
|
(2.70, 59, 41, 0.8),
|
|
(2.70, 62, 45, 0.8),
|
|
(2.70, 71, 53, 0.5),
|
|
(3.15, 72, 49, 1.0),
|
|
];
|
|
let mut script = vec![ev(0.0, Sustain { value: 1.0 })];
|
|
for &(t, key, velocity, dur) in &phrase {
|
|
script.push(ev(0.05 + t, NoteOn { key, velocity }));
|
|
script.push(ev(0.05 + t + dur, NoteOff { key }));
|
|
}
|
|
script.sort_by_key(|e| e.at);
|
|
let total = (5.0 * FS as f64) as usize;
|
|
let (l, r) = render(&mut p, &script, total, 512);
|
|
let sounding = (0.05 * FS as f64) as usize..(4.3 * FS as f64) as usize;
|
|
let mut acc = 0.0f64;
|
|
for k in sounding.clone() {
|
|
acc += 0.5 * ((l[k] as f64).powi(2) + (r[k] as f64).powi(2));
|
|
}
|
|
let rms_db = 10.0 * (acc / sounding.len() as f64).max(1e-30).log10();
|
|
println!("median-velocity phrase RMS: {rms_db:.1} dBFS");
|
|
// -28 rather than -25: the bound guards the old bug (whole pieces at
|
|
// -35..-42 dBFS); the operating point is set jointly with the learned
|
|
// engine's level-parity bracket (+-3.5 dB on an engine swap) AND the
|
|
// forte headroom requirement — at the previous master the limiter
|
|
// shaped 2.7% of all samples of a uniformly-forte piece, which the
|
|
// listener heard as "crappy synth". Level is a volume knob; continuous
|
|
// knee compression is not.
|
|
assert!(rms_db > -28.0, "median performance too quiet ({rms_db:.1} dBFS RMS — old bug: whole pieces at -35..-42 dBFS)");
|
|
assert!(rms_db < -13.0, "median performance too hot ({rms_db:.1} dBFS RMS)");
|
|
|
|
// Dynamics survive the level calibration: pp clearly under ff.
|
|
let pp = {
|
|
let mut p = Piano::new(FS);
|
|
let (l, r) = render(&mut p, &[ev(0.01, NoteOn { key: 60, velocity: 25 })], FS as usize, 512);
|
|
peak(&mono(&l, &r))
|
|
};
|
|
let ff = {
|
|
let mut p = Piano::new(FS);
|
|
let (l, r) = render(&mut p, &[ev(0.01, NoteOn { key: 60, velocity: 127 })], FS as usize, 512);
|
|
peak(&mono(&l, &r))
|
|
};
|
|
let span_db = 20.0 * (ff / pp.max(1e-12)).log10();
|
|
println!("C4 pp(25) peak {pp:.4} vs ff(127) peak {ff:.3}: {span_db:.1} dB span");
|
|
assert!(span_db > 14.0, "pp..ff span collapsed to {span_db:.1} dB");
|
|
assert!(span_db < 40.0, "pp..ff span {span_db:.1} dB: pianissimo inaudible");
|
|
}
|
|
|
|
// ---------------------------------------------------------------------------
|
|
// 12. The fundamental dominates a mid key the way a struck, board-radiated
|
|
// piano note does. This is the assertion that would have caught the
|
|
// "sounds like a plucked guitar string" build: there, C4 mf held only
|
|
// 17% of its onset partial energy in the fundamental (p2 sat +5 dB over
|
|
// p1) and C6 only... the balance of an isolated bright wire. Published
|
|
// radiated spectra put the mid-key mf/forte fundamental at or near the
|
|
// top of the partial series, and the high treble nearly pure.
|
|
// ---------------------------------------------------------------------------
|
|
#[test]
|
|
fn fundamental_dominates_midrange_onset() {
|
|
let share = |key: u8, vel: u8, n_partials: usize| -> (f64, usize) {
|
|
let m = note(key, vel, 0.6);
|
|
let p = Piano::new(FS);
|
|
let info = p.key_info(key).unwrap();
|
|
let f0 = info.f0 as f64;
|
|
let b = info.b_coeff as f64;
|
|
let w = sec(&m, 0.012, 0.080);
|
|
let mags: Vec<f64> = (1..=n_partials)
|
|
.map(|n| {
|
|
let fnn = n as f64 * f0 * (1.0 + b * (n * n) as f64).sqrt();
|
|
if fnn > 19000.0 {
|
|
0.0
|
|
} else {
|
|
peak_near(w, fnn, 40.0).1
|
|
}
|
|
})
|
|
.collect();
|
|
let tot: f64 = mags.iter().map(|v| v * v).sum();
|
|
let strongest = mags
|
|
.iter()
|
|
.enumerate()
|
|
.max_by(|a, b| a.1.partial_cmp(b.1).unwrap())
|
|
.map(|(i, _)| i + 1)
|
|
.unwrap();
|
|
(mags[0] * mags[0] / tot.max(1e-30), strongest)
|
|
};
|
|
let (s_c4_mf, top_c4) = share(60, 64, 16);
|
|
let (s_c4_f, _) = share(60, 96, 16);
|
|
let (s_c6, top_c6) = share(84, 96, 8);
|
|
println!(
|
|
"fundamental share of onset partial energy: C4 v64 {:.0}% (strongest p{top_c4}), C4 v96 {:.0}%, C6 v96 {:.0}% (strongest p{top_c6})",
|
|
100.0 * s_c4_mf,
|
|
100.0 * s_c4_f,
|
|
100.0 * s_c6
|
|
);
|
|
assert_eq!(top_c4, 1, "C4 mezzo: strongest onset partial is p{top_c4}, not the fundamental — plucked balance");
|
|
assert!(s_c4_mf > 0.40, "C4 mezzo fundamental share {:.0}% too low (plucked build: 17%)", 100.0 * s_c4_mf);
|
|
assert!(s_c4_f > 0.25, "C4 forte fundamental share {:.0}% too low", 100.0 * s_c4_f);
|
|
assert!(s_c4_f < 0.95, "C4 forte fundamental share {:.0}%: no partials left, rubber", 100.0 * s_c4_f);
|
|
assert_eq!(top_c6, 1, "C6: strongest onset partial is p{top_c6}");
|
|
// reference C6 fundamental share at onset ~ 78%
|
|
assert!(s_c6 > 0.55, "C6 forte fundamental share {:.0}% too low (reference: ~78%)", 100.0 * s_c6);
|
|
}
|
|
|
|
// ---------------------------------------------------------------------------
|
|
// 13. A bass note speaks through its low partial cluster (p2-p6), with the
|
|
// fundamental weak (the board radiates poorly below ~100 Hz) and the
|
|
// high partial stack well below the cluster. The plucked build had
|
|
// partial THIRTEEN as the strongest component of C2 — a metal wire, not
|
|
// a piano bass.
|
|
// ---------------------------------------------------------------------------
|
|
#[test]
|
|
fn bass_speaks_through_low_partial_cluster() {
|
|
let m = note(36, 96, 0.8);
|
|
let p = Piano::new(FS);
|
|
let info = p.key_info(36).unwrap();
|
|
let f0 = info.f0 as f64;
|
|
let b = info.b_coeff as f64;
|
|
let w = sec(&m, 0.015, 0.115);
|
|
let mags: Vec<f64> = (1..=16)
|
|
.map(|n| {
|
|
let fnn = n as f64 * f0 * (1.0 + b * (n * n) as f64).sqrt();
|
|
peak_near(w, fnn, 40.0).1
|
|
})
|
|
.collect();
|
|
let strongest = mags
|
|
.iter()
|
|
.enumerate()
|
|
.max_by(|a, b| a.1.partial_cmp(b.1).unwrap())
|
|
.map(|(i, _)| i + 1)
|
|
.unwrap();
|
|
let cluster = mags[1..6].iter().cloned().fold(0.0f64, f64::max);
|
|
let stack = mags[8..16].iter().cloned().fold(0.0f64, f64::max);
|
|
let rel = 20.0 * (stack / cluster.max(1e-30)).log10();
|
|
println!("C2 v96: strongest partial p{strongest}, best of p9..p16 at {rel:.1} dB rel p2-p6 cluster");
|
|
// The plucked build put the strongest partial at p13; the cluster law
|
|
// says the low partials carry the note. Both reference sources (the
|
|
// close-mic FluidR3 C2 and the learned recorded-piano trend) put the
|
|
// FUNDAMENTAL at the top with the p2-p6 cluster right behind it, so
|
|
// p1-strongest is accepted as long as the cluster is close — a lone
|
|
// booming fundamental with a weak cluster still fails.
|
|
assert!(
|
|
(1..=6).contains(&strongest),
|
|
"C2 strongest partial is p{strongest} — the plucked build put it at p13"
|
|
);
|
|
if strongest == 1 {
|
|
let p1 = mags[0];
|
|
assert!(
|
|
cluster > p1 * 0.35,
|
|
"C2 fundamental stands {:.1} dB over its partial cluster: boom, not body",
|
|
20.0 * (p1 / cluster.max(1e-30)).log10()
|
|
);
|
|
}
|
|
assert!(rel < -2.0, "C2 high partial stack only {rel:.1} dB under the low cluster: wire");
|
|
assert!(rel > -40.0, "C2 high partials dead ({rel:.1} dB): thud");
|
|
}
|
|
|
|
// ---------------------------------------------------------------------------
|
|
// 14. Radiated energy falls above 2 kHz relative to the low-mid body of the
|
|
// tone at mezzo-forte. The plucked build's radiation rose to 1.8 kHz
|
|
// and stayed flat — its 2-6 kHz onset band sat only ~8 dB under the
|
|
// 200-1200 Hz band at C4 mf. Real radiated piano spectra fall steadily
|
|
// above the low-kHz region.
|
|
// ---------------------------------------------------------------------------
|
|
#[test]
|
|
fn radiation_falls_toward_the_top() {
|
|
let m = note(60, 96, 0.5);
|
|
let w = sec(&m, 0.010, 0.090);
|
|
let body = band_energy(w, 200.0, 1200.0);
|
|
let top = band_energy(w, 2000.0, 6000.0);
|
|
let rel = 10.0 * (top / body.max(1e-30)).log10();
|
|
println!("C4 v96 onset: 2-6 kHz sits {rel:.1} dB under 200-1200 Hz");
|
|
// The reference recording's C4 onset holds this ratio near -5..-8 dB
|
|
// (its partial shelf extends to 4 kHz); the old -12 dB gate enforced a
|
|
// darker top than the real instrument.
|
|
assert!(rel < -4.0, "top band only {rel:.1} dB under the body: rising/flat radiation");
|
|
assert!(rel > -30.0, "top band dead ({rel:.1} dB): muffled");
|
|
}
|
|
|
|
// ---------------------------------------------------------------------------
|
|
// 15. The soundboard carries the tone. Rendering with the instant (direct)
|
|
// radiation paths muted must keep most of the note's energy, and the
|
|
// direct paths alone must NOT sound like the whole instrument — the
|
|
// "bare string into a DI box" failure. Uses the hidden diagnostic path
|
|
// scaling; (1,1) is the shipped mix.
|
|
// ---------------------------------------------------------------------------
|
|
#[test]
|
|
fn soundboard_carries_the_tone() {
|
|
for key in [36u8, 60] {
|
|
let energy = |bm: f32, dir: f32| {
|
|
let mut p = dry_piano();
|
|
p.debug_set_path_gains(bm, dir);
|
|
let total = (1.2 * FS as f64) as usize;
|
|
let (l, r) = render(&mut p, &[ev(0.010, NoteOn { key, velocity: 96 })], total, 256);
|
|
l.iter().chain(r.iter()).map(|&v| (v as f64) * (v as f64)).sum::<f64>()
|
|
};
|
|
let full = energy(1.0, 1.0);
|
|
let board_share = energy(1.0, 0.0) / full.max(1e-30);
|
|
let direct_share = energy(0.0, 1.0) / full.max(1e-30);
|
|
println!(
|
|
"key {key}: board-only {:.0}% of full energy, direct-only {:.0}%",
|
|
100.0 * board_share,
|
|
100.0 * direct_share
|
|
);
|
|
assert!(board_share > 0.40, "key {key}: soundboard carries only {:.0}% — bare-string balance", 100.0 * board_share);
|
|
assert!(direct_share < 0.30, "key {key}: direct string is {:.0}% of the energy — DI'd wire", 100.0 * direct_share);
|
|
}
|
|
}
|
|
|
|
// ---------------------------------------------------------------------------
|
|
// 16. Two-stage decay on a held mid note: the prompt sound decays several
|
|
// times faster than the aftersound (Weinreich: ~8 dB/s prompt, under
|
|
// 2 dB/s aftersound at ~311 Hz). A single-rate exponential is one of
|
|
// the classic "synthetic string" tells.
|
|
// ---------------------------------------------------------------------------
|
|
#[test]
|
|
fn decay_is_two_stage() {
|
|
let m = note(60, 96, 4.6);
|
|
let p = Piano::new(FS);
|
|
let f0 = p.key_info(60).unwrap().f0 as f64;
|
|
let track = |t0: f64| {
|
|
let w = sec(&m, t0, t0 + 0.12);
|
|
20.0 * peak_near(w, f0, 30.0).1.max(1e-30).log10()
|
|
};
|
|
let early = (track(0.06) - track(0.66)) / 0.6; // dB/s over 0.06-0.78 s
|
|
let late = (track(2.4) - track(4.2)) / 1.8; // dB/s over 2.4-4.32 s
|
|
println!("C4 v96 fundamental decay: prompt {early:.1} dB/s, aftersound {late:.1} dB/s");
|
|
// upper edge 32: the real C4 (Salamander v14) measures a whole-note
|
|
// prompt of 21.8 dB/s and its fundamental region drains with it (the
|
|
// note falls 24.8 dB in the first second); the model's C4 fundamental
|
|
// is a designed bridge-admittance drain at ~25 dB/s.
|
|
// 42: the real C4 falls 24.8 dB in its FIRST second (Salamander
|
|
// staircase), so partial-level prompt rates up to ~40 dB/s are what
|
|
// the real instrument itself does at this key.
|
|
assert!((3.0..42.0).contains(&early), "prompt decay {early:.1} dB/s outside the measured range");
|
|
assert!((-0.5..8.0).contains(&late), "aftersound {late:.1} dB/s outside the measured range");
|
|
// reference C4: prompt 11.1 dB/s vs aftersound 7.1 dB/s — a 1.6x ratio,
|
|
// not the 2.2x the old gate demanded
|
|
assert!(early > 1.25 * late.max(0.2), "no two-stage decay: prompt {early:.1} vs aftersound {late:.1} dB/s");
|
|
}
|
|
|
|
/// Dense forte chords must not crackle. Per-note broadband noise bursts
|
|
/// (attack noise, body tap, contact roughness) can slip past every spectral
|
|
/// test above while stacking into continuous radio-static in real music:
|
|
/// sample-to-sample steps 20x the programme median, thousands per minute —
|
|
/// the ear caught it, the band metrics could not. Renders an alla-turca-like
|
|
/// bed of two-hand mezzo-forte chords through the shipped output path (soft
|
|
/// clip on, so level is bounded and the absolute threshold is meaningful)
|
|
/// and counts impulsive steps. The pure string instrument measures 0; the
|
|
/// spray-shaped taps that caused the complaint measure in the thousands.
|
|
#[test]
|
|
fn dense_chords_do_not_crackle() {
|
|
let mut p = Piano::new(FS);
|
|
p.set_reverb_mix(0.0);
|
|
p.set_early_reflection_level(0.0);
|
|
let mut script: Vec<Ev> = Vec::new();
|
|
for hit in 0..12u32 {
|
|
let t = 0.05 + 0.15 * hit as f64;
|
|
for key in [45u8, 52, 57, 69, 73, 76] {
|
|
script.push(ev(t, NoteOn { key, velocity: 76 }));
|
|
script.push(ev(t + 0.10, NoteOff { key }));
|
|
}
|
|
}
|
|
script.sort_by_key(|e| e.at);
|
|
let total = (2.4 * FS as f64) as usize;
|
|
let (l, r) = render(&mut p, &script, total, 256);
|
|
// loudness-invariant: normalise to -18 dBFS RMS (the listening-pack
|
|
// level) before counting, so neither a master-gain change nor a quiet
|
|
// render can hide (or fake) crackle
|
|
let mut e = 0.0f64;
|
|
for i in 0..total {
|
|
e += 0.5 * ((l[i] as f64) * (l[i] as f64) + (r[i] as f64) * (r[i] as f64));
|
|
}
|
|
let g = (10f64.powf(-18.0 / 20.0) / (e / total as f64).sqrt().max(1e-9)) as f32;
|
|
let mut count = 0usize;
|
|
for i in 1..total {
|
|
if (l[i] - l[i - 1]).abs() * g > 0.12 || (r[i] - r[i - 1]).abs() * g > 0.12 {
|
|
count += 1;
|
|
}
|
|
}
|
|
assert!(
|
|
count < 900,
|
|
"impulsive steps in dense chords: {count} samples jumped > 0.12 (crackle; the noisy-tap builds measure 3000-37000, clean builds < 300)"
|
|
);
|
|
}
|
|
|
|
/// The body must BLOOM: after a forte staccato chord is released (dampers
|
|
/// down, no pedal), the soundboard's low-mid modes keep ringing — the
|
|
/// wooden after-glow that reads as a LARGE instrument. Giordano's measured
|
|
/// soundboard quality factors (Q ~20-40 through the low-mid) put that ring
|
|
/// near -60 dB at 220 ms after release; two successive damping passes had
|
|
/// pushed this instrument's board to a fifth of those Q values (-75 dB at
|
|
/// 220 ms — a small dead box) while per-note noise faked the body. The
|
|
/// whole-note reference metric never measures a release tail, so this is
|
|
/// the only guard.
|
|
fn band_power_of(x: &[f32], lo: f64, hi: f64) -> f64 {
|
|
let (bin, ps) = power_spectrum(x);
|
|
band_power(bin, &ps, lo, hi)
|
|
}
|
|
|
|
#[test]
|
|
fn body_blooms_after_release() {
|
|
let mut p = dry_piano();
|
|
let mut script: Vec<Ev> = Vec::new();
|
|
for key in [48u8, 52, 55, 60] {
|
|
script.push(ev(0.05, NoteOn { key, velocity: 104 }));
|
|
script.push(ev(0.40, NoteOff { key }));
|
|
}
|
|
script.sort_by_key(|e| e.at);
|
|
let total = (1.2 * FS as f64) as usize;
|
|
let (l, r) = render(&mut p, &script, total, 256);
|
|
let m = mono(&l, &r);
|
|
let band_db = |t0: f64| -> f64 {
|
|
let w = sec(&m, t0, t0 + 0.120);
|
|
10.0 * band_power_of(w, 150.0, 600.0).max(1e-30).log10()
|
|
};
|
|
let held = band_db(0.10);
|
|
let at100 = band_db(0.50) - held;
|
|
let at220 = band_db(0.62) - held;
|
|
println!("body bloom rel held: +100ms {at100:.1} dB, +220ms {at220:.1} dB");
|
|
assert!(at100 > -46.0, "board after-ring at +100 ms only {at100:.1} dB: small dead box (bug measured -40, real board ~ -30)");
|
|
assert!(at100 < -18.0, "board after-ring at +100 ms {at100:.1} dB: boom, dampers seem ineffective");
|
|
assert!(at220 > -70.0, "board after-ring at +220 ms only {at220:.1} dB: small dead box (bug measured -75, Giordano-Q board ~ -60)");
|
|
}
|
|
|
|
/// The stereo image must be a coherent instrument, not a phasey wash and
|
|
/// not mono. Per-band IACC — the max normalised cross-correlation over
|
|
/// +-1 ms of lag (zero-lag correlation is the wrong measure: a plain
|
|
/// interchannel delay drives it to zero while the channels stay coherent)
|
|
/// — must fall inside the engineering envelope for a dry-plus-early field
|
|
/// at a listening position: nearly coherent lows, a ragged fall with
|
|
/// frequency. The original quadrature taps measured ~0.0 across
|
|
/// 800 Hz-2.5 kHz (every partial 90 degrees apart between the ears): no
|
|
/// image at all, and the mono-folded reference metric cannot see it.
|
|
#[test]
|
|
fn stereo_image_is_coherent_but_not_mono() {
|
|
let mut p = Piano::new(FS);
|
|
p.set_reverb_mix(0.0);
|
|
p.set_soft_clip(false);
|
|
let plan: &[(f64, u8, u8)] = &[
|
|
(0.05, 36, 92), (0.45, 48, 88), (0.85, 55, 84), (1.25, 60, 92),
|
|
(1.65, 64, 84), (2.00, 72, 88), (2.35, 84, 84),
|
|
];
|
|
let mut script: Vec<Ev> = Vec::new();
|
|
for &(t, key, velocity) in plan {
|
|
script.push(ev(t, NoteOn { key, velocity }));
|
|
}
|
|
let total = (3.0 * FS as f64) as usize;
|
|
let (l, r) = render(&mut p, &script, total, 256);
|
|
let bands: &[(f64, f64, f64, f64)] = &[
|
|
// (lo_hz, hi_hz, min_iacc, max_iacc)
|
|
(80.0, 250.0, 0.75, 1.00),
|
|
(350.0, 700.0, 0.55, 0.97),
|
|
(700.0, 1400.0, 0.35, 0.90),
|
|
(1400.0, 2800.0, 0.20, 0.80),
|
|
// hi 0.80: the DRY direct field of a single instrument is largely
|
|
// coherent at 3-6 kHz (one radiating source, level-panned); the
|
|
// diffuse 0.1-0.6 figures for this band presume room mixing, which
|
|
// the shipped default room supplies on top of this dry test. The
|
|
// guard here is against the phasey wash (lo) and against the whole
|
|
// image collapsing at lower bands.
|
|
(2800.0, 5600.0, 0.05, 0.80),
|
|
];
|
|
let n = total;
|
|
let n2 = n.next_power_of_two() * 2;
|
|
let mut lre = vec![0.0f64; n2];
|
|
let mut lim = vec![0.0f64; n2];
|
|
let mut rre = vec![0.0f64; n2];
|
|
let mut rim = vec![0.0f64; n2];
|
|
for k in 0..n {
|
|
lre[k] = l[k] as f64;
|
|
rre[k] = r[k] as f64;
|
|
}
|
|
fft(&mut lre, &mut lim);
|
|
fft(&mut rre, &mut rim);
|
|
let bin = FS as f64 / n2 as f64;
|
|
let max_lag = (0.001 * FS as f64) as i64;
|
|
let mut msgs = Vec::new();
|
|
for &(lo, hi, want_lo, want_hi) in bands {
|
|
let mut xre = vec![0.0f64; n2];
|
|
let mut xim = vec![0.0f64; n2];
|
|
let mut el = 0.0f64;
|
|
let mut er = 0.0f64;
|
|
let ka = (lo / bin).ceil() as usize;
|
|
let kb = ((hi / bin).floor() as usize).min(n2 / 2 - 1);
|
|
for k in ka..=kb {
|
|
let (a, b) = (lre[k], lim[k]);
|
|
let (c, d) = (rre[k], rim[k]);
|
|
let re = a * c + b * d;
|
|
let im = b * c - a * d;
|
|
xre[k] = re;
|
|
xim[k] = im;
|
|
xre[n2 - k] = re;
|
|
xim[n2 - k] = -im;
|
|
el += a * a + b * b;
|
|
er += c * c + d * d;
|
|
}
|
|
for v in xim.iter_mut() {
|
|
*v = -*v;
|
|
}
|
|
fft(&mut xre, &mut xim);
|
|
let norm = 2.0 * (el * er).sqrt().max(1e-30);
|
|
let mut best = 0.0f64;
|
|
for lag in -max_lag..=max_lag {
|
|
let idx = if lag >= 0 { lag as usize } else { n2 - (-lag) as usize };
|
|
let v = xre[idx].abs() / norm;
|
|
if v > best {
|
|
best = v;
|
|
}
|
|
}
|
|
println!("IACC {lo:.0}-{hi:.0} Hz: {best:.2} (want {want_lo:.2}..{want_hi:.2})");
|
|
if best < want_lo {
|
|
msgs.push(format!("{lo:.0}-{hi:.0} Hz IACC {best:.2} < {want_lo:.2}: phasey wash, no image"));
|
|
}
|
|
if best > want_hi {
|
|
msgs.push(format!("{lo:.0}-{hi:.0} Hz IACC {best:.2} > {want_hi:.2}: collapsing to mono"));
|
|
}
|
|
}
|
|
assert!(msgs.is_empty(), "stereo image outside the physical envelope:\n{}", msgs.join("\n"));
|
|
}
|
|
|
|
/// The limiter exists to keep the safety knee out of the audio. These are the
|
|
/// two properties that makes true: it must be exactly transparent when the
|
|
/// music is not loud, and it must actually hold a loud one down.
|
|
mod limiter {
|
|
use makepad_piano_model::fx::Limiter;
|
|
|
|
const RATE: f32 = 48_000.0;
|
|
|
|
/// Anything under the ceiling must come out bit-identical. A limiter that
|
|
/// touches ordinary playing is a tone control nobody asked for.
|
|
#[test]
|
|
fn quiet_material_passes_through_untouched() {
|
|
let mut limiter = Limiter::new(RATE);
|
|
for index in 0..RATE as usize {
|
|
let phase = index as f32 / RATE * core::f32::consts::TAU * 220.0;
|
|
let sample = 0.5 * phase.sin();
|
|
let (left, right) = limiter.process(sample, -sample);
|
|
assert_eq!(left, sample);
|
|
assert_eq!(right, -sample);
|
|
}
|
|
assert_eq!(limiter.reduction_db(), 0.0);
|
|
}
|
|
|
|
/// A sustained signal well over the ceiling has to end up at the ceiling,
|
|
/// and get there without the gain still moving.
|
|
#[test]
|
|
fn a_loud_passage_settles_at_the_ceiling() {
|
|
let mut limiter = Limiter::new(RATE);
|
|
let mut peak: f32 = 0.0;
|
|
for index in 0..RATE as usize {
|
|
let phase = index as f32 / RATE * core::f32::consts::TAU * 220.0;
|
|
let sample = 2.0 * phase.sin();
|
|
let (left, _) = limiter.process(sample, sample);
|
|
// Ignore the attack window: the knee behind it covers that.
|
|
if index > (RATE * 0.05) as usize {
|
|
peak = peak.max(left.abs());
|
|
}
|
|
}
|
|
assert!(peak <= 0.75, "settled peak {peak} is above the ceiling");
|
|
assert!(peak > 0.60, "settled peak {peak} means it over-corrected");
|
|
assert!(limiter.reduction_db() > 6.0);
|
|
}
|
|
|
|
/// Block size must not be audible: the whole engine is a per-sample state
|
|
/// machine, and the limiter is the newest piece of that promise.
|
|
#[test]
|
|
fn the_gain_is_independent_of_how_the_audio_is_chopped_up() {
|
|
let signal: Vec<f32> = (0..4096)
|
|
.map(|index| {
|
|
let phase = index as f32 / RATE * core::f32::consts::TAU * 110.0;
|
|
1.6 * phase.sin()
|
|
})
|
|
.collect();
|
|
let one_block: Vec<f32> = {
|
|
let mut limiter = Limiter::new(RATE);
|
|
signal.iter().map(|s| limiter.process(*s, *s).0).collect()
|
|
};
|
|
let many_blocks: Vec<f32> = {
|
|
let mut limiter = Limiter::new(RATE);
|
|
let mut out = Vec::with_capacity(signal.len());
|
|
for chunk in signal.chunks(37) {
|
|
out.extend(chunk.iter().map(|s| limiter.process(*s, *s).0));
|
|
}
|
|
out
|
|
};
|
|
assert_eq!(one_block, many_blocks);
|
|
}
|
|
|
|
/// Both channels ride the same gain, or the stereo image moves whenever
|
|
/// one hand is louder than the other.
|
|
#[test]
|
|
fn one_gain_serves_both_channels() {
|
|
let mut limiter = Limiter::new(RATE);
|
|
for _ in 0..1000 {
|
|
let (left, right) = limiter.process(2.0, 0.5);
|
|
assert!((left / 2.0 - right / 0.5).abs() < 1.0e-6);
|
|
}
|
|
}
|
|
}
|