Line breaks were always placed by songtrace, midway between lines and
recomputed around edited ones, so a break could not be put where a singer
breathes. The sheet now draws the breaks either side of a line as markers
that drag along the beat grid, kept between the lines they separate, and
double-click back to automatic. Break moves share the line's undo history
and SAVE LINE, which saves the notes only if they changed, so moving a
break never locks either line's notes.
Moved breaks are stored in edits.json keyed by the line each comes before,
follow their lines when the lyrics change, and win over the computed break
on every rebuild, clamped so a break never lands inside a line's notes.
The review lists each break with that line and whether it was moved, and
PUT /api/jobs/{id}/breaks takes {line: seconds | null}. merge now passes
untouched notes through as they are rather than rebuilding them, which
added float noise to their durations.
The beat grid came from the detected tempo (or the BPM override) and a GAP
pinned to the first note, so it did not always line up with the music,
and snapping did not land on its beats. A GRID bar on the sheet now sets
both, redrawing the grid live as values are tried, with x2 and /2 for a
tempo detected at double or half speed and ALIGN TO NOTE to move GAP the
least that puts the selected note on a beat. Note editing pauses while a
trial grid is unapplied, so notes never snap to a grid that is then
cancelled.
The grid is stored with the song's edits, so every rebuild keeps it, and
grid charts with it in place of its own choice; it records that choice in
tempo.json for RESET to return to. A GAP after the first note moves back
by whole beats, as notes on negative beats are rejected by players. PUT
and DELETE /api/jobs/{id}/grid set and reset it, rewriting the charts in
place.
The sheet's controls were listed in one run-on line under it, which was
hard to scan and grew with every feature. Replace it with a panel grouped
the way an editor's reference card is (select, move, length, notes, kind,
syllable, line) with keys drawn as key caps, opened by a KEYS button or ?,
closed by Esc, and remembered open or closed across visits.
The list is data (SHORTCUTS), and a test checks every letter key it names
is one the sheet's key handler handles, so the two cannot drift apart.
Notes on the sheet can now be selected and edited: dragged in time and
pitch, resized from either end, nudged and stretched from the keyboard,
split, merged, added, deleted, given a syllable or a kind (golden,
freestyle, rap), with undo/redo. Everything snaps to the chart's beat grid
and to semitones, as the chart itself will. SAVE LINE stores the line
through the edits API, which rewrites the charts in place; REVERT goes back
to the generated notes; a line's edits set aside because its lyrics changed
are listed with a way to discard them. Unsaved changes are not lost to
paging, following playback, switching songs or closing the tab.
The operations live in static/edit-model.js as pure functions, unit-tested
with node --test. The sheet hit-tests by geometry rather than event
targets, since a render replaces the elements under the pointer.
The review drew each line's notes as thin bars in a 20px strip, with no
pitch axis or beat grid, so it was hard to tell where a note sat. Add a
sheet that shows one line at a time the way an UltraStar editor does: a
row per semitone, shaded like piano keys and named in a gutter, the
chart's own beat grid with bars every 4 and 16 beats, notes as blocks
styled by kind (golden, freestyle, rap) with low-confidence ones outlined,
neighbouring lines faded in for context, syllables and aligned words
beneath, and a playhead that follows the transport, paging with it.
The detected pitch curve is drawn over the notes, served by a new GET
/api/jobs/{id}/pitch in note semitones, so a note off the sung pitch
stands out. The sheet is its own ES module; its geometry is unit-tested
with node --test, run from pytest and skipped where Node is absent.
branderson