The convention, at the user's asking, and it is the one this project
already has everywhere else: a .asm is written and a .sbx or a .bin is
what the machine loads. A .score and a .tune are the same pair one
subject along.
It is not only tidiness. I read the user's splash.tune as a compiled tune
yesterday, dumped its header, and got a tick of seven and a half million
cycles and ninety seven patches out of what was plainly a text file.
Different names make that a thing nobody has to notice.
AND THE SPLASH WAS SILENT ON THE DISK THAT MATTERS. The play disk mirrors
every .asm and puts every app, and nothing on it put a compiled tune - so
make run-cosmos and make run-voyager both booted a Lander that read
/splash.tune, did not find one, and held the logo in silence. Only the
test disk had it, because I had added it there and stopped.
The makefile now compiles Programs/Tunes/splash.score with TuneC and puts
the result on the disk, and the mirror's prerequisite list learned about
.score files so that changing the music rebuilds the disk. That is the
same failure the mirror was built for, in a file type the mirror did not
know about yet: tune.asm went into Examples once, the image was not
remade, and it was simply not there.
Measured on the real disk: music from 0.9 s to 9.6 s.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01E2JrLzFvuFX9fgi1LDRjrW
The first customer for the player outside the program it was pulled out
of, and the argument for doing it: a splash needs no resident player at
all. Nothing else is happening while the logo is up, so Lander owns the
timer and all four channels exactly as Play does. Music UNDER a running
game is still deferred, and still the harder problem.
It polls the timer rather than being interrupted by it. Lander has no
vector segment and waits for the screen by reading port 0x30, so it waits
for a beat by reading port 0x50 - the same shape, and it brings no
handler that would have to be taken away before the game starts.
The tune is read off the disk. A missing one means the logo and silence
and the game starts anyway, the way a missing /lander.state means the
defaults stand.
FOUR THINGS THIS COST, each found by running it:
A subroutine cannot answer in A. CALL saves and restores it, so splashSkip
handed its caller back the A it already had - the channel number of the
last stepVoice - and the splash ended on its first pass whatever anybody
pressed. Q is what survives a RET, which nextRandom says twenty lines
away and I did not read.
Port 0x3D is how many window rows are SHOWN, and it is two once putGauge
runs and nothing before. A line written to row eleven went somewhere real
and was displayed nowhere.
A nought is not a keypress. It is what a recorded keyboard file holds
while nobody is typing, and a splash that took it for a key is one no
test could ever watch.
And skipping has to be free. Asked after blanking the window and reading
the file, a skipped splash still cost a fifth of a second - enough to
push the thruster test's early capture past the frame it looks at. Asked
first, it costs a pad read.
player.asm no longer asks a caller for Order0 to Order3: the voice records
name NoOrder instead, so a program whose tune comes from a file does not
have to define four order lists it never uses. That was the file case
finding a wart in the contract.
Every other Lander test now skips the splash with a space - a key the
game itself ignores, since it answers to q, z and the arrows - so they go
on testing what they tested. The one in sound.sh presses nothing, which
is what makes it the one that hears the music.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01E2JrLzFvuFX9fgi1LDRjrW
The compiler, and the last thing the ladder was waiting for. A tune names
its instruments, writes sequences of notes and durations, and gives each
voice an order list of sequence names - which is where repetition comes
from, since a phrase played four times is written once and named four
times.
#Tick 0d125000
#Patch Oboe oboe.patch
#Voice 0d0 Oboe
#Sequence Verse
0d64 0d4 0d67 0d4 0d72 0d8
#Order 0d0
Verse Verse Ending
"#" is a directive and ";" is a comment, exactly as in SplitBit assembly
and in the shell's scripts, and numbers are written the way the assembler
writes them. One rule across the machine rather than a third dialect -
and the rule earned itself immediately: the first tune I wrote said
"#Voice 0" and was refused, correctly, for a bare number.
WHAT IT REFUSES IS EVERYTHING THE PLAYER CANNOT NOTICE. The machine has
no names, so it cannot say a sequence does not exist. It has no lengths,
so it cannot say the voices will come apart four bars after the mistake.
A duration of nought is counted down to 255 and held, which sounds like a
hang rather than an error. And by the time a tune is loaded, "no starting
instrument" and "instrument nought" are the same byte - so the user's
ruling, that a voice with a part and no instrument is an error, can only
be kept here.
SoundPatch gains --blob, writing the same table as raw bytes. It stays
the only thing that reads soundThing's JSON: a second program parsing
that format is a second opinion about what a patch means, and the seam
between two opinions is where the LFO bug lived for a fortnight. Patches
are found beside the tune and then on a -I path, the way an include is.
THE TEST IS THAT TWO IMPLEMENTATIONS AGREE. maketune.py lays the fixture
out by hand and TuneC compiles a written source, and the suite checks
they match byte for byte - the discipline SplitDisk and sbfs.asm are held
to, for the same reason: either alone is only self-consistent. The
fixture predates the compiler, so this is also TuneC checked against
something written before it existed. Four more checks cover the four
refusals.
Also: the SoundPatch binary was tracked, alone among the six tools, and
.gitignore lists every other one. Untracked, and TuneC added beside it.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01E2JrLzFvuFX9fgi1LDRjrW
AnachronautandClaude Opus 5