Checking whether the notes line up meant packaging the song, finding it in
the game and starting it there. The review panel now plays the song folder
itself: a transport above the lyrics, the line being sung highlighted, words
lighting up as they are reached, and a playhead sweeping each line against
its notes. Clicking a line or a word plays from there.
Playback is modelled on the game rather than on whatever is convenient: #MP3
is the audio and the clock, #VIDEO is muted background slaved to it, and the
times are the same seconds the notes were generated from. A word that lights
up late here is late in the game.
package now strips the audio track from the video it writes. It is the same
recording as the #MP3, so a player that does not mute the video plays both a
few frames apart, which is heard as an echo. The compatible-video branch
remuxes with -c copy -an rather than copying the file, so it still does not
re-encode. The browser player mutes the video as well, which covers song
folders built before this.
A new /api/jobs/{id}/media/{audio,video,cover} serves what the song's own
#MP3/#VIDEO/#COVER headers name, refusing anything resolving outside the song
folder. Range requests come from FileResponse, so seeking works.
Also, per review: CREATE SONG moves out of the form and into the top of the
queue, where it is always available, and a successful submission keeps the
fields it sent instead of emptying them.
Selecting a queue entry filled the review panel but left the form empty, so
the only way to adjust a song was the EDIT & REBUILD button, and the only way
to see what a song was built from was to click it. Selection now loads the
job's inputs, which is what the form is for: pick a song, change a line of
lyrics, hit REBUILD SONG.
That makes the EDIT & REBUILD action redundant, so it goes. CANCEL becomes
NEW SONG INSTEAD, which is what it does now that the form is rarely empty.
The landing page deliberately keeps its blank form: the job auto-selected on
load fills the review panel only, so opening the page is still the way to
start a new song.
Three things the old button-driven flow never had to handle:
- Advanced is opened when the job has a genre, year, language, bpm or a kept
cover. Those carry into a rebuild either way, so leaving them behind a
closed summary meant rebuilding with values that were never on screen.
- Submit is disabled, with the reason shown, while the selected job is queued
or running, since /rebuild answers 409 until it settles.
- Selecting a different entry asks before discarding edits, and deleting the
job the form is holding drops it rather than leaving the form pointed at an
id that would 404.
.review-lane spans the full timeline box height (top:0; bottom:0) to
group each word with its note visually, but as a positioned element it
painted after the unpositioned .review-roll SVG, so the lane's
background covered the note bars for every other word. Give .review-roll
position: relative so DOM order (lanes, then notes) governs paint order
instead.
Replace arbitrary demo pitches with the actual melody transcribed from
Gilbert DeBenedetti's public-domain "Level 4, Flowing" arrangement (E
minor, 6/8), converted to UltraStar semitones, with one note per word
across both demo lines.
The review panel used to show a full line of packed text with one
undifferentiated strip of notes below it, so it was impossible to tell
which notes belonged to which word. The forced-alignment stage already
produces per-word timestamps in alignment.json, but they were never
surfaced past the pipeline.
/api/jobs/{id}/review now includes each line's per-word timing, and the
frontend spaces words out by their real sung timing (karaoke-style)
instead of normal text flow, with the note strip sharing that same time
axis so each note lands directly under its word. Alternating lane
backgrounds make the word/note pairing unambiguous. Dropped lines and
jobs without alignment data keep the old plain-text rendering.
branderson
