3.1 KiB
Audio source editor workflows
Phases 69–79 use the existing bounded mono WAV reader. Stereo input is downmixed; these are offline control-thread tools, not stereo restoration or time stretching. The project format remains 16. No new dependencies are required.
Phase 69 — Source inspection
Select an audio clip and use View / Sample editor or double-click it. The modal editor loads an independent snapshot of the complete source, up to 4,194,304 frames (about 87 seconds at 48 kHz). Drag or enter half-open native frame bounds; zoom 1..64 and View start control the visible region. Statistics show raw mono min/max, RMS and mean/DC before clip gain, fades or mixer processing. Display clamps to ±1; sample statistics retain finite over-range values. Editing project MIDI still opens the piano roll. This editor does not audition or stream long files.
Phase 70
Trim clip to selection applies source-frame endpoints within the current audible clip. Start rounds up and end rounds down to musical ticks; empty sub-tick ranges reject. Leading removal moves the timeline start by the same amount, preserving alignment. Source content, reference and clip gain/fade settings remain intact; project Undo restores the prior trim.
Phase 71
Export selected frames writes a new mono float32 WAV of the half-open selection at native rate. Save full copy and relink writes the complete source and relinks only the selected clip after successful preparation. The original source is never overwritten. Full-copy adoption requires matching source frame count/rate. Project undo restores the reference but retains the new file, which may be referenced by redo/history or other projects. Failed adoption removes its owned new file. Export/copy runs synchronously outside audio callbacks.
Phase 72
Reverse selection changes only the chosen source frames in a new local snapshot. Undo / redo toggles the most recent processing step; selection and view are unchanged. Processing does not affect playback until Save full copy and relink. Close discards unsaved local processing. Sources are bounded to 16 MiB of float samples; preparing a new edit can temporarily retain three snapshots (48 MiB), then two (32 MiB).
Phase 73
Invert polarity negates selected float samples; it is not time reversal. Over-range finite samples remain over-range; no implicit limiting is performed. Outside-selection frames are bit-preserved in the copied snapshot.
Phase 74
Remove DC offset subtracts the mean of the selected range from only that range. This is a constant offset correction, not a high-pass filter. Selection boundaries may acquire discontinuities; use fades or zero-crossing tools where appropriate. Finite over-range results are retained; float overflow rejects the edit.
Phase 75
Sample fades offers four offline curves: linear in/out and equal-power in/out (sinusoidal amplitude). The entire selection is the fade duration; both endpoints are included in the curve. Fewer than two frames reject. These curves change copied sample data and stack with existing playback clip fades after adoption; they do not form a linked clip crossfade.