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core pop nullabye
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bin
c
cover
gui
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README.md
seedance-spatial-prompt.txt
README.md

nullabye #

A lullaby with no instruments in it — every sound is carved out of cancelled pink noise with EQ automation. Part of the pixsies body.

The technique #

Study after Andy Brewer's "this song has no instruments in it":

  1. Duplicate a pink-noise track and invert the phase of the copy. Summed, they null to perfect silence.
  2. Put an EQ on the copy. Anywhere the EQ deviates from flat, the cancellation breaks — what you hear is the difference signal.
  3. A narrow peaking bell at a note frequency therefore becomes a breathy pitched voice pulled out of the hiss. Automate 24 bells and you have a 24-voice "noise-sine" polysynth.

Two properties make this more than a parlor trick:

  • Pink noise + constant-Q bells = equal voice energy at any pitch (pink is equal energy per octave; a constant-Q band covers a constant fraction of an octave). Bass notes and whistle notes come out at the same loudness for free.
  • High-Q bells ring (ring time ≈ Q/πf), so the filters supply natural attack/release tails without any amplitude envelope on the audio path — the "instrument" has built-in articulation.

We honor the original's constraint: the renderer allocates from a pool of at most 24 EQ points and throws if the score ever wants a 25th. nullabye uses 15, peaking at 10 sounding simultaneously.

Run #

node pop/nullabye/bin/render-nullabye.mjs            # → out/nullabye.mp3
node pop/nullabye/bin/render-nullabye.mjs --proof    # flat EQ ⇒ bit-exact silence

--proof renders with every band forced flat and asserts the output is bit-exact digital zero — the cancellation is real, not just quiet.

Release media is archived privately at s3://assets-aesthetic-computer/private/pop-release/nullabye/release/; checksums, provenance, automation, and release notes remain in Git.

sineabye — the oscillator cut #

bin/render-sineabye.mjs recasts the lullaby around sine voices, with a very quiet bed of independently filtered noise hats and soft percussion. It uses no samples, distortion, cancellation, or EQ-as-instrument technique. It expands the original theme to exactly 2:00 (38 bars at 76 BPM), moving through an immediate quiet opening verse, two increasingly full statements, a consonant F-major bridge, homecoming, and a melody-only ending. Even the heartbeat is a short downward-gliding sine; sparse modal gongs mark the form.

node pop/nullabye/bin/render-sineabye.mjs
# → out/sineabye.mp3 + out/sineabye.struct.json

spatial-sineabye — gravitational room cut #

c/spatial-sineabye.c is a small acoustic game engine: every musical voice is a persistent body in a virtual room, and its live acoustic energy exerts gravity plus a tangential “groove” force on a damped listener body. The moving listener position compiles to distance, azimuth, elevation, Doppler, ear gain, and room reflections. The same C simulation rasterizes an MP4 showing sources, energy, attraction lines, listener position, and head direction in perspective 3D. After 1:18 its camera withdraws from the listener and eventually leaves the whole room floating far away as a small source constellation. Its listening law is intentionally selective: distance falls steeply after a few room units, so wandering actively remixes the piece. Faint grey tethers in the video show physical source distance; colored halos and lines show the post-distance energy that actually reaches the stereo listener. The opening starts near 30 rotations per second, completing 96 turns as it decelerates to a stop. Sustained resonators make that HRTF/proximity motion fuse into a spatial hum, but the track no longer waits inside atmosphere: the lullaby melody, quarter-note low pulse, and alternating air answers begin in bar one. From 0:50–1:18 the complete source constellation eases through two more physical rotations, including an eight-turn centrifuge from 1:02–1:10. The audio and gravity use the rotating coordinates, so these passages produce real proximity, Doppler, and stereo movement rather than a camera spin.

In the first-person receiver view, emitters are twelve-slice spectrographic volumes instead of small source dots. Frequency rises vertically, live band energy controls each cross-section, and longitudinal ribs join the slices into one body. Six historical post-HRTF measurements launch expanding three-plane shells from each body's position at the moment its sound was emitted; captured per-source waveform samples deform those shells instead of leaving them as smooth decorative rings. The cockpit windshield is a 55 ms perspective surface of the exact final stereo master decoded back into C. Source-colored waveform particles strike it at the emitter's measured L/R position and spectral height, producing impact ripples on the calculated sound plane. The echo and air sources are follower bodies: they occupy the listener's position 2.2 and 5.5 seconds in the past, respectively. Their sound and gravity therefore chase the player; a fading breadcrumb in the video exposes the same six-second positional memory.

sh pop/nullabye/c/build-spatial.sh
cd pop/nullabye/c
./spatial-sineabye --wav ../out/spatial-sineabye.wav \
  --mp3 ../out/spatial-sineabye.mp3 \
  --video ../out/spatial-sineabye.mp4 \
  --spatial-wet 0.58 --noise-level 0.55

--spatial-wet 0..1 interpolates every voice between a restrained fixed-pan, constant-distance studio mix and the complete moving-listener model (including distance, azimuth, Doppler, and room motion). The pop default is 0.58; use 1 for the fully experimental observation or 0 for the stable dry reference. The wet bus is implemented by c/ac_hrtf.h, an allocation-free procedural binaural core designed to compile unchanged to WebAssembly. It models fractional ITD, far-ear head shadow, distance and elevation-dependent pinna notches. This is portable directional DSP, not yet a personalized measured HRIR dataset.

--noise-level 0.05..1 scales the hat, nose, and air voices without permitting an unnaturally silent floor. Room, globe, and lattice renders default to the composed 76 BPM / 2:00 form; cosmos stays at 104 BPM unless --bpm overrides it.

Jeffrey choir release candidate #

bin/render-spatial-jeffrey.mjs layers the existing project-owned, pitch-locked Jeffrey mm/oo/oh/ah/eh takes over a room render. It leaves the opening spin free of Jeffrey's choir, then stretches compact harmonies around the takes' natural B2 register. During the 1:02–1:10 super-spin, the choir's orbit follows the exact eight-turn C trajectory. The renderer makes no network or voice-generation API calls and records every source and placement in a provenance sidecar.

node pop/nullabye/bin/render-spatial-jeffrey.mjs
# → out/review/spatial-room-spin-jeffrey-MASTER.wav (48 kHz / 24-bit)
# → out/review/spatial-room-spin-jeffrey-MASTER.mp3 (listening copy)

# Reconnect the accepted master to the engine-generated picture:
cd pop/nullabye/c
./spatial-sineabye --wav ../out/review/spatial-room-spin-clean.wav \
  --video ../out/review/spatial-room-spin-jeffrey.mp4 \
  --video-audio ../out/review/spatial-room-spin-jeffrey-MASTER.wav \
  --spatial-wet 0.58 --noise-level 0.55

Spatial-engine listening/video snapshot:

  • release/spatial-sineabye/spatial-sineabye.mp3 — 320 kbps listening copy.
  • release/spatial-sineabye/spatial-sineabye.mp4 — 720×720, 24 fps, H.264 delivery encode with the calculated stereo windshield.

Special Sign — locked release master #

The release-length work grown from this engine is Special Sign. Its accepted cut begins at source bar 6, runs 1:41.375, and keeps the lead-first assembly, all-body hum, Jeffrey phoneme choir, listener-relative gravity/HRTF motion, and the eight-turn super-spin. The final C-major cadence decelerates the spatial world to rest without changing musical tempo or adding a global fade.

The 2026-07-24 release lock is release/special-sign/special-sign-MASTER.wav: 48 kHz/24-bit stereo, −15.0 LUFS, 7.1 LU range, and −1.7 dBFS true peak. Its diamond master is linear—no saturation, recursive audio feedback, or added master echo. A side-only parallel return from the 68%-wet listener engine sits at 0.20 and rises smoothly to 0.85 through the eight-turn super-spin; that rotation is 4.1 dB stronger in the side field than the previous master while remaining mono-safe. The paired 320 kbps MP3 carries release tags and the 3000-square radial-score cover. The same 1,967 visible score events print as a synchronized 2160-square MP4: twelve physical sound-body lanes, Jeffrey's vowel lane, chords, spatial rotation, kick gravity, and the locked master's measured dynamic arc move through one fixed playhead. The paired 720-square first-person 3D spatial graph shows the physical bodies, wave shells, listener path, gravity field, and aligned mastered stereo receiver. See release/special-sign/README.md and release.json for the exact files, checksums, and QC receipt.

nuellaby — the complexity-arch cut #

Second cut in the lane (bin/render-nuellaby.mjs → out/nuellaby.mp3, exactly 2:00 — 38 bars at 76 BPM is 120.0 s on the nose): the EQ rack doubles 2 → 4 → 8 → 16 → 32 → 64 → 128, then folds back down 64 → 32 → 16 → 8 → 4 → 2 and empties — band count as the musical-complexity arc itself. Up in 4-bar chord cycles (2 bars for the sparse openers), down in quick 2-bar halvings (arch form; the ×128 bloom is the keystone, with a 12-partial harmonic choir + 21-band diatonic halo).

The spectrum is carved into zones, each owned by its own layers: sub (pitch-dropping 110→42 Hz kick, bass roots) · bass (drones, tom fills, floor pad) · low-mid (chord pads, detuned doubles) · mid (lead whistle, harmony, choir) · upper-mid (octave lead, arps, snare-shh) · presence (sparkles, rim clicks, risers) · air (closed/open hats, shaker 16ths, ticks, veils).

New engine idea: lanes — persistent monophonic EQ points that consecutive notes reuse (the bell drags to a new frequency, clipping the old ring), so each stage's band count is the honest number of points on the rack. A per-stage cap audit throws if any stage exceeds its power of two; measured arch: 2/2 4/4 8/8 16/16 30/32 51/64 92/128 49 29 15 8 4 2. --proof works here too (92 lanes flat ⇒ bit-exact silence).

The song (nullabye) #

76 BPM, 4/4, C major, 24 bars (≈ 1:19). Chord cycle C / Am9 / Fmaj9 / Gadd9.

  • breaths (bars 0–3) — wide low-Q bells swell in and out of the null so the trick is audible before the song starts.
  • lullaby-a (4–11) — Q 28 chord pads, Q 55 whistle lead (±0.12% L/R detune), heartbeat kick (Q 4.5 bell at 54 Hz) from bar 8.
  • lullaby-b (12–19) — adds half-note bass roots, 8.2 kHz hat ticks, Q 70 high sparkles on offbeats.
  • veil-lifts (20–23) — one wide bell sweeps 250 Hz → 6 kHz letting the raw noise wash through, a last lone whistle, then the EQ goes flat and the song ends in literal silence.

nullabata — the sonata cut #

Third cut in the lane (bin/render-nullabata.mjs → out/nullabata.mp3, ~4:21): nullaby + sonata. Four movements run attacca — no silence between them — bound by one lullaby motif (semitone offsets from a per-movement voice tonic) transformed in each:

I.   Andante   C maj    72 BPM   18 bars   the theme, lyrical whistle + warm pads
II.  Scherzo   A min   132 BPM   32 bars   theme shattered into a fast arp/twinkle cloud
III. Adagio    F maj    56 BPM   13 bars   theme sung slow over sustained pads + drones
IV.  Finale    C maj    84 BPM   30 bars   theme recapitulated: 2→bloom→2 accumulation

Clarity is a Q decision. In this engine every voice is a peaking-EQ bell on noise: a narrow (high-Q) bell rings like a breathy tone, a wide (low-Q) bell passes a wide band of raw noise (hiss). nullabata runs the engine at its tonal extreme — high Q on every pitched voice (lead 110, pads 55, drones 45, choir/halo 50+), no wide "veil" wash (the single biggest static source in the lane), and percussion kept narrow (no shaker / open-hat; hats are narrow pitched ticks). Master drops the treble boost and adds a 15 kHz lowpass; energy above 12 kHz sits 36 dB below the full band.

Otherwise reuses the engine wholesale — lanes, the serial-dB disjoint-frequency discipline, sorted mono events. The loudness ride is per-second, movement-aware (each movement targets its own dBFS curve) so the four very different tempos and densities land evenly; integrated −19.1 LUFS. The Finale runs a compact accumulation arch (47-point roster, 2 → bloom → 2). --proof passes with all 47 lanes flat (bit-exact silence); the --bake → c/run-c.mjs C path renders the same score.

node pop/nullabye/bin/render-nullabata.mjs            # → out/nullabata.mp3
node pop/nullabye/bin/render-nullabata.mjs --proof    # flat ⇒ bit-exact silence
node pop/nullabye/bin/render-nullabata.mjs --bake out/nullabata.score.txt