A distance transform turns the glyphs and waveform bars into a height field
with bevelled edges and some depth, and a shader lights them as metal: a
studio of softboxes, a dark horizon and the card's colour and art as the
floor, colour split at steep edges, a key light that follows the pointer
(drifts on phones) and flares on kicks, and a sweep over each new title.
One offscreen context serves every plate. The title turns slightly towards
the pointer. Display text uses Bruno Ace SC, bundled; "simple" visuals keep
plain text and the drawn waveform.
Feed modes move into tabs in the bar; likes, history, filters and settings,
and account open as one kind of sheet: a drawer on wide screens, a bottom
sheet with a drag handle on phones, with a scrim, Esc, a focus trap and
focus restore.
Cards get an artist avatar, follow and radio pills, a "new" chip, counts
under round action buttons, an up-next pill and a redrawn waveform with
rounded bars, a reflection and the buffered range. The start overlay names
the track behind a big round play button.
New: undo on dislike, a searchable likes list that plays as a queue
(in order or shuffled), a local history of what played, deep links to a
track (?t=handle/slug), a sleep timer, adjustable crossfade, bass boost,
wheel up (w or a long press on the drop) and more keys.
- A failed likes request shows the error in the panel instead of an empty list.
- A failed sign-out says why instead of doing nothing.
- Long toasts, like a copied link, wrap instead of running off narrow screens.
- Keys no longer act on the feed behind the help; ? still toggles it, and focus
goes into the help and back to where it was.
- Phones reach the help from the account panel; the bar has no room for ?.
- Cards next to the current one are inert, so Tab no longer walks into buttons
that are off screen.
- Keyboard focus is visible everywhere, and panels use the shared colour and
radius tokens.
The kick wave in the vertex shader squared a negative number with pow(), which
GLSL leaves undefined. Mesa returns NaN there, so on Linux the drop's position
pinned to the clamp: it stayed a plain round sphere without wobble, and its
normals split it into a dark yin-yang. The squares are written out now, and the
normal comes from the slope of the displacement instead of two whole positions.
The play/pause icon is one shape whose corners move: each pause bar turns into
half of the play triangle, with a small swing in between, instead of two icons
faded over each other. It sits on a disc of frosted artwork with a lit rim, and a
ring round it shows the track's progress, or runs while the track loads, which
replaces the flat spinner. The surface calms down under the icon gradually
instead of jumping flat, a double-tap no longer flickers the icon, and a mouse
resting on the playing drop shows the pause bars faintly.
Also:
- Low-density desktop screens render the drop at twice the resolution.
- Quality steps follow the display's own frame rate and step back up again.
- A lost WebGL context brings the drop back once it is restored.
- A paused drop keeps breathing at a low frame rate on desktop.
- Without Web Audio (iOS) jumps in the waveform count as kicks, so the drop lands on drops there too.
- Artists without an image get their own colour from their name, so their drop no longer sinks into the page.
- z toggles zen mode: just the drop, bigger, and the music.
The infinity sign becomes a dubplate: a wobbling riddim groove around a red label
with a rewind arrow, after the soundsystem rewind where a tune the dance loves is
pulled back and run again. Icons, manifest, titles, legal pages and the README use
the new name; cookie names, storage keys and the link key info keep pl8inf so no
one is signed out or loses settings.
The flat play/pause badge and the flash icon sat on top of the drop as two separate
symbols. With the drop on, both are gone: the icon is stamped out of the drop's front
instead, turns with it and catches the light. Pausing pops up the bars, which melt
into the play triangle; playing melts it back into the bars as they fade.
On touch only a clearly sideways drag turns the drop now, so diagonal swipes turn the
page again. A mouse released outside the window, or after turning the drop, no longer
leaves the pager dragging. The halo behind the drop drew a hard ring at the art's edge;
it is a soft radial glow now.
The rim hue drifted with play time until it left the card's colour altogether, so a
pink card could carry a green drop. It now only sways around the accent. The edge
fades into the page, a halo in the accent pulses behind it like the plain artwork's
glow, the surface reflects the accent from above, and the title and the rest of the
card sit on top where the drop spills over them.
Dragging the drop turns it (sideways only on touch, where up and down turn the page).
A flick keeps it spinning; it slows down and a weak spring wobbles it back to face the
front. Spun fast it flattens a little and sloshes, and the artwork blurs into colour
where it is seen from the side. A spin is not a tap, so it does not pause.
Two new features follow the bass line itself: its envelope against the last moment,
which rises and falls with every wub, and how open its filter is (spectral centroid
of the bass and mids). Each wub swells the drop, and as the filter opens its surface
crinkles and spikes like before. Every layer keeps a floor, so the drop never goes
still and nothing snaps in from nothing; riddim gets its soft terraces back. Kicks
still make it jump.
The terraces, snare spikes and fine ripples creased the surface into jagged corners.
The drop now always moves in broad, smooth lobes, and the strongest kick and bass
hits (weighed by prominence against the last seconds) throw it up on a spring: it
stretches as it rises, squashes as it lands and jiggles back. Snares pump its size.
It also swells in from the flat artwork more slowly.
The radio button (r) opens a sheet with the artist, their tags and their closest
neighbours instead of switching the feed at once; tapping a neighbour walks the
artist graph. Starting jumps to the radio's first track, the top-bar chip shows the
station, each radio card says why it is there, and an end card offers the way back
when the radio runs dry.
GET /local/artist feeds the sheet and starts crawling a new artist's neighbourhood
(at most every 10 minutes per artist). Artist-radio tracks carry why: seed, related,
or via the neighbour that leads to them.
The bass meter sat at full scale through every dubstep drop, so the glow froze.
features.ts now tracks band levels against their recent range, kick and snare
onsets from spectral flux, wobble in the mids, and drops, and the pulse follows
the kicks.
The playing card's artwork becomes a WebGL2 liquid drop that moves with those
features; tempo, tags and key set its character. Falls back to the plain artwork
without WebGL2, with reduced motion, or with visuals set to simple (v).
?debug=audio shows what the tracker hears.
Tracks get tags from their title, description, artist name and BPM
(styles such as riddim, versions such as VIP/dub/flip, and tempo), stored
in track_tags and shown on cards. Related pages the crawler reads are kept
in track_related, which links artists to each other.
The feed takes ?mode=: riddim (140 BPM, riddim artists and their graph
neighbours first), fresh, deep cuts, and an artist radio that plays an
artist and the artists around them. Opening a radio crawls that artist's
related pages first. The crawler searches riddim-adjacent terms first.
The filters panel picks the feed, each card has a radio button (r), and a
chip in the top bar returns to the normal feed.
The front end moves to web/ (Vite, TypeScript, no framework) and is built
into web/dist, which the server embeds. hls.js is bundled from npm and
loaded on demand instead of vendored.
The feed is a custom pager instead of CSS scroll snapping: drag and flick
with a spring that keeps the finger's speed, a rubber band at the ends,
one page per wheel or trackpad gesture, and only three cards in the DOM.
Playback uses two decks. The next track is buffered shortly after the
current one starts and tracks crossfade through a Web Audio graph; on iOS,
where that would break lock-screen playback, they switch with a cut. An
analyser drives a bass pulse of the artwork and its glow, and each card
takes its accent colour from the artist image. Styles start from design
tokens and respect reduced motion.
Docker gets a Node build stage; legal pages use their own small stylesheet.
nvrl