much update many wow

It inherited the cyan the old viz buttons used, which is harder to read
at eleven pixels than the white on the buttons beside it.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

Eight buttons across the left of the second row, only ever one of them in
use. They were the widest thing in the bar and pushed everything else
onto a second line at any ordinary window size. The bar is one row again
at 1100 pixels.

The three unbuilt ones keep their slots and their order in the menu,
greyed out, because the order is the roadmap and not an accident of when
each was written.

The menu's own name is the "none" entry, so picking Visualize again
closes what is open, alongside Escape and a click on the overlay itself.
Escape and the click reset the menu, or it would go on naming a
visualization that had already gone.

The guide loses its screenshot for this section: the set is in a dropdown
now, and a closed dropdown shows none of it. The text names the menu
instead, and the capture run drops the stale PNG on its own.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

Three lines of height off the card, and a label that stops throwing my
prose at you.

"round trip" was a phrase, not a reading. It is lat. now, next to bal.,
and the two share one line: at a card's width they fit even at the worst
case of a four-digit latency, measured down to a 241px card with four to
a row. The tooltip spells both out, along with the escrow address.

The resolved address under Play as answered "which account did that name
mean" once and then charged for the answer forever. It clears itself
after four seconds, and the row collapses rather than sitting empty. A
failed lookup stays, because it is still true.

Play as had a sixty-pixel label column to line up with rows that no
longer exist — device and channel left for the header. The label takes
the width of its own text now, so the input keeps what it gains as the
card narrows.

Card height: 893 to 865.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

Two problems, one of which had no answer at all.

Nothing anywhere told you where to send money. The card showed a balance
draining and no way to fill it — you would have had to read the TEAL to
find the address. The balance line now carries it in its tooltip and
copies it on a click, which costs no height, because a line that says
"escrow: 0.141 ALGO" is already the line about the escrow.

Device and channel were two rows in the parameter area. They are now two
dropdowns in the header, where Type and Sub sit on every other card and
where the room already existed. The MIDI card is the same height as an
ordinary synth card again: 892 pixels against 892, measured rather than
assumed.

The device picker reads MIDI until a device is chosen, so the header
still names the card. Device names are longer than the select is wide;
the tooltip carries the full one.

The guide follows both: where the pickers are, and that clicking the
balance copies the address to top it up.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

Nothing in this takes a keyboard. It takes note-on with velocity, which
is what pads, MPCs, wind controllers, guitar pickups, sequencers and
anything with a MIDI out send. The copy said keyboard throughout because
the first device to play it was one.

It read worst in the 0.11.0 note — "one keyboard can send up to eight
parts" excludes exactly the multi-track devices that feature exists for.

Two uses of the word are left. One is the computer keyboard that reorders
cards, which is what it says. The other is the list of examples in the
guide, where a keyboard is one of the things named.

Copy only, so no version bump: a card that read the release notes once is
not worth interrupting again over a wording fix.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

The guide gains a Channel paragraph in the MIDI section: leave it on all
for one keyboard, add a card per track and set a channel each for a
device that sends several at once.

The release notes lead with the part that needs saying loudest, which is
that everyone has to update. Notes on channels 2 to 8 are dropped by
0.10.0 rather than sounding wrong, so a friend still on the old build
hears a quarter of a four-track performance and no error.

MINOR: a 0.10.0 preset still loads, and channel is a new key with a
default. The break is in what goes over the network, not in what a preset
means, and the compatibility surface here is presets.

The MIDI card screenshot is recaptured for the new row. The other
twenty-one are left alone — a full run rewrites them all, but only this
one changed.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

Rewritten in your voice, plus four typos.

A tab had got into "Plug in your MIDI keyboard", and "plug in ... into"
doubled the preposition. "Through relay node" wanted an article.

In the guide, the Play as paragraph had lost the clause between "an NFD
name.algo" and "Leave it empty", which left a semicolon in front of a
capital letter. The paragraph after it kept a dash that no longer had
anything on the other side of it.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

A groovebox is not a keyboard. Its tracks are separate instruments, and
arriving as one merged stream in one voice is the wrong answer to what
the device is for.

The separation could have come from addresses — a different "Play as" per
track, four tracks arriving as four strangers. That works today with no
change at all, and it is wrong. Identity is load-bearing here: it carries
your NFD, and it is what "hear only this player" asks about. Four tracks
of one performance are not four people, and answering a filter for one of
them with a quarter of the music is a bug wearing a feature's clothes.

So the part rides in the asset ID, next to the pitch. Each note has
always owned a thousand IDs and a keypress only ever needed a velocity,
so nine tenths of every slot was empty: it now holds eight parts of a
hundred steps each. The top two hundred stay unreachable from a keyboard,
which is where the voice announcement already lives. Nothing about the
escrow changes — the range check still holds, with two hundred to spare
at the top — so the instrument keeps its address.

Velocity drops from 128 levels to 100. It was only ever read as a gain
between 0.05 and 1, so the loss is arithmetic rather than audible.

This is a change to what goes on the wire. A listener on 0.10.0 will hear
part 0 and silently drop the rest, since their decoder rejects a velocity
above 127 — which is the correct behaviour for them and a reason for this
to go out as a release rather than sit on a branch.

The rest follows from the encoding. Voices are filed under player and
part rather than player alone, so one performer's tracks stop overwriting
each other's sound. A card knows which part it plays, so the card that
sent a note is the one that sounds it, instead of all four playing every
line. And a device now feeds as many cards as want it, each on its own
channel — binding was one-at-a-time before, on the reasoning that two
cards on one keyboard would pay twice for every keypress. They would not:
they listen on different channels, and a keypress only lands on one.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

The escrow readout says what the hat holds, which is everyone's. It does
not say what you have spent, and those are different questions the moment
more than one person is playing.

They are different for a second reason, which is the one that prompted
this. An arpeggiator bills you a note at a time without a finger moving,
and a sequencer left running does it indefinitely — the first you would
otherwise know of either is an empty hat. The count is worth its line on
the card while it is happening rather than afterwards.

Notes dropped by the rate cap get a line too. They cost nothing, but you
pressed a key and heard silence, and that is worth saying rather than
leaving you to wonder whether it went out.

The readout is four short lines now instead of two long ones. A card is
about twenty-eight characters wide at this size, so a line carrying two
facts wraps mid-phrase and reads as neither.

window.SOA_MIDI.spend() gives the same numbers from the console, next to
voices() and playing().

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

The escrow balance was read once when the card was built and never again,
so the one number that tells you how much playing is left sat still while
you spent it. A reload was the only way to find out.

It is now driven by what is heard rather than by asking. Every note is a
transaction that passes this browser on its way back from the relay, and
every one of them costs the same minimum fee, so a keypress anywhere in
the world moves the number here at the moment you hear the note that
spent it. That covers other people's playing too, which is the point: the
hat is shared, and watching it drain is part of knowing whether to top it
up.

Counting what you hear drifts — the stream can be stopped, a relay can
miss a transaction, and someone who is not playing can top the hat up —
so the count is corrected against the chain every forty-five seconds, and
not at all while the tab is hidden, since nobody is watching a number
they cannot see. A failed read is left alone rather than treated as a
balance of nothing.

The probe's floor drops from 0.2 ALGO to 0.05. The old figure was picked
out of the air and refused to play a hat that could still afford a
hundred and sixty notes.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

The guide gains a last section, after presets, because the keyboard is the
one part of this app that does not listen. It says what a note actually
is, that you will not hear a key when you press it, that the instrument
belongs to nobody, and what Play as buys you — which is not identity for
its own sake but the thing that lets your sound travel with your notes.

The second row's section gains the two controls beside + MIDI. Others is
described where the reader meets it rather than in the MIDI section,
since it governs what you hear whether or not you ever plug a keyboard in.

MINOR by the rule in the README: settings keys were added with sensible
defaults and nothing was renamed or repurposed, so a preset written by
0.9.0 sounds the same here.

Only two screenshots are committed. A full capture run rewrites all
twenty-two, but the other twenty differ only in font rendering — this
machine's Chromium against whoever captured them last — and the presets
modal cannot have been changed by any of this work. Committing them would
be twenty binary files of noise around the two that mean something.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X

A note is a transaction: a zero-amount transfer of an asset that does not
exist. The AVM allows this because a zero transfer returns before it
looks up any holding, so no opt-in is needed, no supply is needed, and
the asset ID is free to mean something other than an asset. It means the
note — 2^40 + midiNote*1000 + velocity, three orders of magnitude above
the highest real asset ID so it can never be mistaken for a transfer of
something that exists.

The amount cannot carry anything, which is the one thing that had to be
designed around rather than chosen. A non-zero transfer needs a holding
the sender does not have, so every note is aamt 0 and the pitch lives
somewhere else. Sending to yourself is out for the same family of
reasons: aamt 0 to your own address is the opt-in branch, which does look
the asset up and fails.

The instrument is an escrow with no private key. tools/midi/keyboard.teal
authorises exactly one shape of transaction — axfer, amount zero, fee at
most the minimum, no clawback, no close-out, no rekey, asset ID inside
the note range — so the only thing that can ever leave the account is
fees. Anyone holding the program can sign for it, which is the point:
several people play the same instrument at once with no server, no
session and nothing to coordinate, because Algorand has no nonces and
simultaneous senders never collide. The receiver field carries who
played, since the sender is the escrow for everybody. It costs nothing,
a zero transfer never touching the receiving account, and it can be
typed as an NFD.

Nothing is heard when it is sent. A note is heard when it comes back
through the relay, most of a second later, in whatever order gossip
chose. That is not a defect to be papered over: the mempool is the delay
line, and the instrument is one whose latency is a live measurement of
the network. Slow, sparse, chordal playing sounds deliberate. Fast runs
sound like a fax machine, and should.

A player's sound travels with them, in the note field of the notes they
are already sending. A fully designed voice serialises to about 460
bytes against the 1024 a note field allows, and mainnet's fee-per-byte is
zero, so those bytes are free space rather than a cost — every note
carries the whole sound, a change is heard on the very next keypress, and
someone who joins mid-jam has your voice on the first note they hear. No
transaction is ever sent for a voice alone.

That voice is a stranger's data applied to your audio graph, so
services/midi/voice.ts forces every value into a range Tone can take
before it reaches a node, refuses a payload from a format version it does
not know rather than voicing it with today's reader, and drops the fields
that are a card's state rather than a sound. It cannot mute your synth or
move your sequencer. It also cannot move the shared reverb, which belongs
to everybody's hall rather than one player's patch.

Applying a voice is cheap in the case that matters. Only the engine is a
different class of object; waveform, envelope, detune, cutoff, delay, pan
and LFO are parameters on nodes that already exist, so applyVoice sets
them on a running graph and rebuilds only on an engine change. Since
every note carries its player's whole sound, a fingerprint comparison on
the way in means Tone is touched only when the sound actually differs —
on a knob turn, never on a keypress. Nothing needs rate limiting.

Four voices, evicted least-recently-heard, kept out of activeSynths on
purpose: they are not cards, and must never be saved into a preset,
reordered, or matched against ordinary transaction rules. Your own notes
go to your own card, where the sound you are designing lives and where
the LED tells you the mempool heard you. Everyone else goes to the pool.
A card never plays another player's notes — hearing four people through
one card's voice was only ever a stand-in for not having their voices.
Anonymous players, having no address to file a sound under, share one
slot and the house default rather than being silent.

Two things had to be learned by encoding a transaction and reading the
bytes back, because neither is visible in this code.

Canonical msgpack omits zero-valued fields. So aamt is absent rather than
0 on every note, and arcv is absent entirely when the receiver is the
zero address. Both guards are written around that.

And gossip dedup was dropping notes. A logic-signed transaction has no
sig, so the fallback key was a composite of type, sender, fee and
validity window — every one of which is identical for every note this
escrow plays in a given minute. The first note of each window would have
sounded and the rest would have been swallowed in the ingest layer,
before any synth saw them. The key is now built at normalize time, while
the raw bytes are still in hand, from what actually differs: the asset ID
that carries the note, the receiver that says who played it, and a hash
of the bytes the sender added to keep two identical notes from being one
transaction. This was never MIDI-specific; all lsig and msig traffic was
under-deduplicated the same way, and MIDI only made it total.

One bug is left alone deliberately. axfer-opt-in tests (aamt ?? -1) === 0
against a field msgpack drops, so that subtype has never matched
anything. Fixing it changes what an existing preset hears, which is a
release decision rather than a drive-by.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01F3U3qYRnw6NPt5BRj81S9X