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 raised icon was cut into a mesh too coarse for its edges and did not line up
with the icon painted over it, so it came out doubled and jagged, and melting one
shape into the other went through blobby in-betweens. The icon is now only painted:
crisp and white on a dark disc like the page's round buttons, still turning with the
drop, and pause and play fade into each other as the new one grows in.
Some browsers only offer to install an app with a service worker. A minimal one at
/sw.js (served from the root so it covers the whole app) caches nothing and only
shows a short offline note instead of the browser's error page. The manifest gets
an id.
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