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Commits
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  AnachronautandClaude Opus 5
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1b251fb290 |
M1: the tune keeps a beat it sets, instead of one it borrowed
tune.asm counted the screen's frames, because until
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AnachronautandClaude Opus 5
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b04e4b7d1c |
Finish making the tune a program
The user's conversion, which I reverted while I was working out whether it was half done or broken. It was half done: an sbx application wants its #Include above #Program, because services.asm ends in a #Vectors block and a #Base written after that has no segment to be the base of. So the include moves up, the bases move a page with everything else, and the test starts it from the shell instead of booting it. It plays for 9,469,987 cycles, 9,423,527 of them waiting, which is the same 567 frames of music it played as a boot image. BEING A PROGRAM MEANS ITS VECTOR IS THE SYSTEM'S TO INSTALL. It brings the screen's, so that it has a beat to play to, and CosmOS puts it in when the tune starts and takes it back out when it stops - a thing a boot image never had to have right, and the second program here to exercise the version two format at all. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_01E2JrLzFvuFX9fgi1LDRjrW |
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AnachronautandClaude Opus 5
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3449405b18 |
Give the system another page of each memory
CosmOS had 1,161 bytes of Program Memory left before the address applications load at, and Tab completion is not going to fit in that with anything to spare. So the wall moves up one page: the system keeps below 0x4FFF and 0x2FFF, and an application is based at 0x5000 and 0x3000. A PAGE IS A CHEAP THING TO GIVE IT AND AN EXPENSIVE THING TO RUN OUT OF. An application still has 44K of Program Memory before the vector table and the largest one here uses 7.5K, so what was taken from applications is space nothing has ever asked for - while what the system gained is the difference between building the next thing and counting bytes while building it. Not doubling, which was the version that would have cost application space worth minding. One page, and the same again when it is needed. Nothing in the machine knows where the wall is, so this is 34 #Base lines, one threshold in the fault handler, and the table in the CosmOS README that Tests/docs.sh reads its limits out of. The native assembler's scratch map had to move with it, and docs.sh said so before anything ran: its data reached 0x40D6 and its buffers began at 0x4000, so they were sitting on its variables. That file already carries a paragraph about the floor coming up and the map staying where it was. It has happened twice now, and been caught by a check the first time wrote. Twenty three recordings are the same runs a page higher. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_01E2JrLzFvuFX9fgi1LDRjrW |
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AnachronautandClaude Opus 5
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f97d15de08 |
The font comes from a chip, not from RAM that remembers
videoReset zeroed video memory and then wrote the font and the sixteen colour schemes into it, and the comment above that said out loud what was wrong with it: "everything here is ordinary video memory". RAM does not wake up with anything in it. That was the last piece of magic in this device, and it looked harmless until something wanted the font BACK - a program that redefines a glyph had destroyed the only copy there was. So the device has a character generator, the way the machines this one is pretending to be really did, and the copy into RAM is a thing it DOES rather than a state it mysteriously starts in. Command port 0x39: bit 0 for the font, bit 1 for the schemes. THE RAM IS STILL RAM. A program may overwrite every glyph and every colour and should be able to, which is what makes this a tile engine rather than a text display. What changed is that it is no longer a one way door. NEITHER COMMAND CLEARS WHAT IT DOES NOT OWN. The font used to clear the whole of tile memory before writing itself, which was harmless while it happened only at reset and is wrong the moment a program can ask: a program that defined a tile of its own and then wanted its text back would have paid for it with the tile. The reason it is a chip rather than a file on the disk, which was the other candidate: the boot chain prints before CosmOS exists. Stage one prints "?" when there is nothing to boot, and if the font came off the disk then the message about the disk having failed would be the one thing that could not be drawn. A system that wants its own font still loads one over the top - the ROM is the floor, not the policy. Two things that had been worked around now simply work. The shell asks for both whenever a program exits, so a program that redefined a letter no longer leaves it unable to spell, and Grid no longer needs to have saved the screen to avoid handing back green text on blue. And the fault screen asks for the glyphs first, because a message spelled in somebody's tile graphics is no message at all. Five video checks. Two runs each for the font and the schemes, since the map holds a tile NUMBER and the glyph is looked up when the frame is drawn - so restoring changes every cell using it, including ones drawn before, and what the two runs differ by is the command. The third guards the decision not to clear: tile 200 has to survive the font coming back. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_01E2JrLzFvuFX9fgi1LDRjrW |
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AnachronautandClaude Opus 5
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2f22807458 |
Give the demo a real tune: the Anachronaut Labs theme
The composition is the user's - a leitmotif they already have variants of, written into the note table by hand. It replaces the eight note scale that was there to prove a note could be played at all, and it is a better demo for the obvious reason and one less obvious one: it is long enough to hear whether the machine keeps time, which a run of eight notes is not. Forty five notes, 567 frames, 9.45 seconds, peaking at 19,461 of 32,767. The test budget goes to twelve million cycles, which is a duration rather than a guess: at 16,667 cycles a frame the music is 9.45 million, so there is room to add bars before anybody has to come back here. Also records what borrowing the screen's frame actually costs, which came out of writing music rather than out of theory. The frame is not too slow, it is FIXED: every duration is a whole number of 16.67 ms, so a note worth a third of a beat cannot be written, and the way round it is choosing a tempo whose subdivisions land on whole frames - making the tune fit the machine. That is the argument for the timer peripheral wanting an arbitrary tick rather than a faster fixed one, and for the screen not being the clock: a display refresh and a music routine have no reason to share a rate. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_01E2JrLzFvuFX9fgi1LDRjrW |
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AnachronautandClaude Opus 5
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d388cd3122 |
Give the machine a sound device
Four channels on ports 0x40 to 0x4F, each one a whole soundThing voice:
two oscillators, two envelopes, a filter and the routing between them. A
channel keeps its patch between notes, so a program sets an instrument up
once and then plays it.
Six ports rather than forty, because a voice has around forty settings and
four of them would spend more than half the port space on one device.
There is a selector and a value instead: say which channel, say which
setting, write it. That is three writes to change a setting and two to
play a note, which is the right way round - patches are loaded, notes are
played in an inner loop.
Samples come from the machine's clock and not the host's: 48,000 a second
of emulated time, worked out in whole numbers so it never drifts. A
million cycles is exactly 48,000 samples on any host at any speed, which
is what makes a sound something a test can compare. --sound writes them
out, the way --screen writes a picture, for the same reason: the suite has
no speaker.
Tests/sound.sh is 22 checks and found three real defects the first time it
ran, all the same shape - a synthesizer written for a patch editor, wired
up as hardware and inheriting the editor's assumptions:
- Only one voice had an oscillator switched on, so three of the four
channels could not make a sound whatever was written to them.
- That voice's oscillator arrived at full gain and every other one
arrived at nothing, an asymmetry with no reason behind it.
- A note with no sustain is silent but not over, so the obvious way to
wait for a sound to finish waits for ever.
The first two are fixed by the device defining its own power-on state
rather than inheriting synthInit's: every channel arrives able to make a
sound, so writing a note number is the whole of playing a note. The third
was already written into the manual as advice, an hour before the check
existed. The check disagreed with the documentation and the check was
right; the manual now says the one rule, which is that a note sounds until
the gate is dropped.
Programs/Examples/tune.asm plays eight notes, taking its tempo from the
screen's frame interrupt because that is the only regular beat this
machine has. It spends 99.8% of its cycles asleep in WAIT.
Voyager has no speaker yet - this is the device and its tests. Playing the
samples out of the window is the next commit.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01E2JrLzFvuFX9fgi1LDRjrW
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