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
A patch file that could not be read left the name unregistered, so every
#Voice naming it failed as well, and then the check that a voice has an
instrument failed for each of those. One wrong path produced seven
messages and only the first was worth reading.
A patch that cannot be read is still a patch that was NAMED. It is
registered either way now, with its bytes marked missing, so everything
below resolves the name and says nothing. Nothing is written regardless -
one problem is enough to stop that - so a patch with no bytes never
reaches a file.
The damage from the old behaviour was not the extra lines. It is that a
compiler which says one thing seven ways teaches people to read the last
line, which is the one that matters least.
Checked by counting: one missing patch, three voices using it, and the
count of messages mentioning it has to be one. break.sh confirms it by
putting the old behaviour back on the failure path alone - the first
attempt at that break stopped every tune compiling and the disk build
failed before any test ran, which is break.sh being right about a break
that proved nothing.
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