The first visit shows a welcome screen where one tap starts a guest
session; sign-in moves below it. Guests see a "sign in" pill, are
asked once to sign in after five likes or a first follow, and need
two taps to forget themselves.
Drops are found in the waveform and marked on it; "drop" and the d
key jump a bar before the next one. Long and dj-mix fades start on a
bar once the beat is locked. Radio sheets can be shared as /?r=handle.
The audio features now follow the bar, gaps before drops and the
wobble rate, and a new flare pass draws loops round the drop on each
kick, with a setting under visuals.
Back to the plain bold title, the drawn waveform and the system font from
before the metal look. The spiky drop and its glow, the pre-blurred
backgrounds, the --energy fix, ?debug=drop and the desktop layout stay.
On wide windows with a mouse the card grows with the window (--u), the
action rail sits beside the content, the header controls share one glass
capsule and up next is larger. The volume slider is a slim filled track
everywhere. The drop's canvas is capped at 2.6M pixels so the bigger drop
costs no more than it shows.
--energy is now set only on the art and the glow, and only when it changes,
so the card is no longer restyled every frame. The halo pulses through
transform and opacity, without forcing layout or paint. The card background
is blurred and darkened once on a small canvas, so the full-screen CSS blur is
gone. The action rings no longer use backdrop-filter, and neither do the mode
tabs and the up-next pill on phones. The chrome layer reads the layout only
after a resize or a font load. The drop's fragment shader skips the icon, the
ring and the frost while none of them shows.
That saves enough to render the drop at up to 1.5 canvas px per CSS px on
phones, up from 1. ?debug=drop shows fps, the worst frame and chrome draws per
second, refreshed once a second.
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 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 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.
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