AnachronautandClaude Opus 5
2808688fa1
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
25 lines
768 B
Plaintext
25 lines
768 B
Plaintext
; two.tune.txt
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; The smallest thing that is a tune: one voice, two sequences, and an instrument change.
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; Written by Anachronaut
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;
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; BOTH NOTES ARE NUMBER 60. The octave between them is the #Use in the second sequence, which
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; loads the other patch - so what this plays says the whole path works: a header, a tick taken
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; from it, two tables relocated, an order list followed, and a patch out of the file.
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#Tick 0d125000 ; A sixteenth note at 120 beats a minute.
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#Patch Low low.patch
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#Patch High high.patch
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#Voice 0d0 Low ; What voice nought starts on. The other three have no part.
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#Sequence Plain
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0d60 0d4
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#Sequence Octave
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#Use High ; A command, which takes no tick at all.
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0d60 0d4
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#Order 0d0
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Plain Octave
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