v0.9.0

📐 Measurement

• 7.1 material reads 0.35 LU quieter, and correctly. The +1.5 dB surround
  weight was applied to every channel past the LFE, so a 7.1 stream had it on
  the rear pair as well as the side pair. BS.1770 gives it to the surround pair
  only — Report ITU-R BS.2217's channel table states 7.1 as
  1.00 / 1.00 / 1.00 / N/A / 1.41 / 1.41 / 1.00 / 1.00 — and the ITU's own
  two 7.1 compliance files read 0.35 LU high against a ±0.1 tolerance until this
  was fixed; they now read −23.000 and −24.000 exactly. Only 7.1 and wider is
  affected: mono, stereo, quad, 5.0 and 5.1 never reached the arm that was
  wrong, and every reading from them is unchanged. Anything measured from a 7.1
  master — its LUFS-I, LUFS-M, LUFS-S, LRA and the delivery verdict
  drawn from them — was 0.35 LU too loud and is worth re-measuring.
• Max M and Max S are found on a 10 ms grid, where momentary and
  short-term loudness previously advanced only every 100 ms. The official EBU
  test vectors caught this: Tech 3341 tests 13 and 14 slide a 400 ms tone —
  exactly one momentary window long — through twenty files in 20 ms steps and
  require Max M within ±0.1 LU of −23.0 every time. On a 100 ms grid a tone
  offset by anything else never lies inside one window whole, so sixteen of the
  twenty read low, by up to 0.45 LU, and test 14 by 0.70. Every Max M and
  Max S therefore rises rather than falls: on the EBU's two authentic
  programme segments Max M rises by 0.16 and 0.11 LU and Max S by 0.02 and
  0.01, and a transient that fell between the old grid points can rise by up to
  0.7 LU. LUFS-I, LRA and its percentiles, TP Max and Peak Max are
  unchanged — identical to three decimals across all 70 files of the test set
  — because both gating windows are still filed every 100 ms, which is the 75%
  overlap BS.1770 asks for. Re-read a delivery decision that turned on Max M
  or Max S against a ceiling; one that turned on the integrated numbers stands.
• The spectrum analyser draws its bands tilted, at 4.5 dB per octave by
  default. The curve is rotated about 1 kHz, so 20 Hz is drawn 25.4 dB lower
  than it measures and 20 kHz 19.4 dB higher — 44.8 dB between the ends of the
  range, where previously the drawn level was the measured level at every
  frequency. It is a view: the offset is added per band at the moment of
  drawing, and Spectrum and Spectrum peak are published and sent over the
  wire exactly as the engine measured them, so nothing needs re-measuring. What
  changes is that a level read off the analyser's own dB scale is only true at
  1 kHz now, which is why the module prints the tilt it is drawing at and why
  Tilt: 0 dB/oct — where the scale is true everywhere — prints nothing.
• The analyser's peak-hold line holds the drawn curve rather than the raw
  bands. It is the highest the curve has been, held for a second and a half
  and then let down at 12 dB a second, which is the schedule the engine's own
  per-band hold already followed. Two consequences: the line moves with the
  curve instead of jumping to a peak the curve is still easing towards, and on
  Response: Slow it reads lower than it used to — by as much as the pole
  smoothed the transient away — because the curve it is holding never went
  there. Response: Fast holds every published frame and is the setting to
  find a click with. Spectrum peak itself is unchanged.
• The histogram draws both of its bands averaged over a second, where it
  previously drew every 100 ms column exactly as measured. Smoothing in its
  menu chooses Off — the old picture, byte for byte — Light at 0.5 s, Normal at
  1.0 s or Broad at 2.0 s, and Normal is the default. The window is centred
  rather than trailing, so nothing moves along the time axis; what it costs is
  height on a short event. A transient the momentary band reached for a single
  column now reads lower by roughly the distance between that column and its
  neighbours — a 6 LU spike over a steady body reads about 1 LU above it on
  Normal — and the newest column at the right edge lags the live meters by up to
  half the window, settling as it ages. Nothing measured changes: the ring holds
  the columns as they arrived, the smoothing is applied on the way out every
  frame, and reports, the wire protocol and every other loudness module are
  untouched. Choose Off to find the loudest 100 ms in a programme.
• The loudness distribution's fill no longer double-draws itself. Each of
  the 120 published bins was stroked half a pixel wider than its own spacing to
  keep butt caps from leaving seams, so every overlap was composited twice
  through the translucent gradient — a brighter line at all 119 bin boundaries,
  and on a default-sized module nearly a fifth of the fill drawn at double
  alpha. The bins are unchanged and none of them moves; what changes is that the
  drawn area is now a shape rather than a row of overlapping lines, and a column
  covering more than one bin takes the loudest of them rather than blending
  them, the way the engine already maps transform bins into spectrum bands.

✨ Added

• The oscilloscope locks to the DAW. Sync: Tempo makes the width a
  musical division — 4 bars down to 1/32, straight, triplet or dotted — and
  puts every sample in the column its position in the bar falls in, so each
  pass overwrites the last in place and a kick is drawn in the same spot every
  bar. The graticule divides into beats rather than tenths while it is locked,
  and the corner says which division is on screen. It uses the host's own
  playhead, tempo and time signature, which the plugin already forwards: MIDI
  clock carries neither a bar position nor the accuracy, and is not involved.
  A source with no playhead — a sound card, or a DAW that reports none — draws
  the free window and labels it as the free window, because a display that
  said 1 bar over something else would be worse than one that is not synced.
• The spectrum analyser has a tilt, Tilt in its menu: 0, 1.5, 3, 4.5 or
  6 dB per octave, rotated about 1 kHz. Programme material falls with frequency
  at something like 3 to 4.5 dB an octave, so an untilted analyser draws every
  mix ever made as the same ramp — bottom octaves against the ceiling, top
  octaves crushed into the floor — and spends most of its height on the one
  part of the picture that carries no information. Tilted, a mix is roughly
  horizontal and what is left is the deviation. The analyser prints the tilt it
  is drawing at, because a dB scale quietly rotated across its width is worse
  than no scale at all.
• The oscilloscope draws a stereo signal either as two lanes or with both
  channels around one centre line, from Stereo in its menu. Overlaid, the
  two are told apart by weight rather than by colour, and the trace gets the
  whole height of the module — which is the arrangement that shows what the
  channels are doing differently.
• The oscilloscope can be triggered by a transient. Trigger: Transient
  makes the display wait, armed, until the signal rises through a level you set,
  draw forward across the whole width once from that sample, and hold what it
  caught until the next crossing. It works at every time base — the roll above
  200 ms is replaced by the sweep rather than left in place — so the attack of
  one kick can be looked at instead of a picture that lands somewhere different
  every pass. Trigger: Auto, which is the default and what the module did
  before, is unchanged: a rising zero crossing below 200 ms, a rolling display
  above it, and always something on screen. A threshold nothing reaches leaves
  the last capture where it is, which is the mode working rather than failing.
  Trigger stays in the module's menu under Sync: Tempo, greyed rather than
  dropped: a bar-locked window is placed by the bar line and has no use for it,
  and a row that vanishes is a row somebody hunts for.
• The oscilloscope's height and trigger threshold are sliders on the
  module, HEIGHT and THRESHOLD in a strip along the bottom of the plot,
  and the threshold is drawn across the lane at the height it is set to. Both
  are numbers over a wide range that are chosen by watching the waveform while
  they move, and a menu that closes over the waveform on every step cannot be
  used for that. The height goes from 1x to 32x, continuously rather than in
  named steps — a reverb tail thirty decibels under full scale is a flat line at
  1x, and the setting that fits the material is rarely a round multiple. The
  strip is dropped on a module too short to spare the room, like the graticule
  and the lane letters, and is not drawn on a remote display, which has no
  layout to write to. Nothing measured changes: a sample is still marked as
  clipped only if it reached full scale, and a trace that runs off its lane is a
  trace that is zoomed.
• AUTO beside the threshold takes it from the loudest transient. It
  follows the largest positive excursion of the mid signal over the last two to
  four seconds — the quantity the trigger itself compares against — and sets the
  threshold six decibels under it, which is half the amplitude and so still
  inside the attack: the sweep starts before the transient rather than on top of
  it, which is what a threshold set exactly at the peak would do. The slider
  shows where the level has got to and stops answering while the box is checked;
  unchecking it keeps the number Auto found rather than snapping back to
  whatever was dragged before. Silence moves nothing — a passage nobody played
  is not a measurement, and a threshold dropped to the floor would arm the
  trigger on the noise underneath it.
• The histogram has a Smoothing setting — Off, Light, Normal or Broad. See
  the Measurement note above for what each one does to the picture and why the
  window is centred rather than trailing.
• The loudness distribution prints LRA. The module drew the picture behind
  the number for two phases without ever showing the number, so reading one off
  it meant putting a Number Box beside it. It is now on the bracket across the
  top, which is the distance the reading is.

⚡ Changed

• macOS 14.2 is now the stated requirement for the application, the VST3 and
  the Audio Unit, where the application claimed 10.15 and the plug-ins 11.0.
  Nothing is lost that worked: neither could load below 14.2 at all — see the
  Fixed entry. The installer refuses the volume under 14.2 rather than gating
  its plug-in rows, because there is no longer a version that can run one
  component and not another.
• Nothing crosses the loudness distribution's plot except the target. The
  10th and 95th percentiles were two full-height lines at the reading weight,
  and on steady material they and the dashed target line piled up within a few
  pixels of each other over the bars. The percentiles are now a bracket across
  the top strip carrying the LRA reading, with short end marks at the top and at
  the axis and the gated range shaded between them — so the distribution is the
  only thing in the plot, and the target, which is the one line the user chose,
  is the only line through it. The 10% and 95% labels are gone: the bracket's
  ends are those percentiles and the number on it is the distance between them.
• The loudness distribution's annotations are painted over the bars rather
  than under them. The percentile marks and their labels were drawn before the
  fill, so the translucent gradient was composited on top of the part of the
  module meant to be read first.
• The settings panel says what the source list actually offers. The note
  under the device picker still read "input devices only" and told macOS users
  to install BlackHole, sitting directly beneath a picker that has offered
  System Output since 0.8.0 — so the one sentence read at the moment of
  choosing said the feature was not there. It now names what each platform does,
  and says that macOS asks permission and reads silence if it is declined.
• Upgrading from 0.5.0 or earlier is documented as revoking every macOS
  permission, not just Local Network. The bundle identifier moved in 0.6.0 and
  macOS keys permissions to the identifier, so Microphone, Camera and System
  Audio Recording were revoked as well. System Audio Recording is the one worth
  checking first, because Apple's refusal of it is silent — see the install
  page.
• The page switcher on a remote display's link bar sits at the right-hand end
  of the bar, beside Disconnect, where it used to sit between the host's name
  and its playhead readout. It no longer moves when the host gains or loses a
  DAW, or reports a tempo where another reports only a clock.
• The iPad display needs iPadOS 15 or later, where it previously needed 13.
  Apple stops accepting uploads built against anything below 15 in Spring 2027
  and warns on every one until then, so the floor moves now rather than in the
  release that would otherwise have been refused. No iPad loses the display
  by this. iPadOS 13, 14 and 15 support exactly the same devices — every model
  back to the iPad Air 2 and the mini 4 — so what this excludes is an iPad that
  has not been updated, not an iPad that cannot be.
• Disconnecting a remote display lands back on the view it was opened from,
  rather than leaving the host picker on the screen. Leaving a display used to
  put it in its no-host state, and that state is the panel that asks which
  machine to attach to — so the one control marked as the way out asked a
  question instead of answering one. A display with nothing behind it, which is
  a tablet that opened straight into one, still lands on the picker, because
  there is nowhere else for it to go.
• The phase scope's correlation bar and the super meter's three arcs have
  rounded ends. On the bar the fill is clipped to the same corners, so ±1
  fills the rounded tip rather than sitting square over it; on the arcs the
  track carries the same cap as the fill, so neither end of the scale is
  overrun, and the M, S and I names step a little further round the open end to
  keep their clearance from ink the arcs did not have before.
• Everything drawn against the delivery target is amber above it. The LUFS
  meter's momentary and short-term bars and the super meter's three arcs are
  now cut at the target and drawn in warn past it, where they were one colour
  from the floor to the reading; the histogram and the loudness distribution
  already split at the target and drew the far side in over, and that side is
  now warn as well. One rule in four modules: over the target is amber, and
  red still means a ceiling has actually been exceeded. The cut is a clip at
  the target rather than a verdict on the whole shape, so what it shows is how
  much of the reading is over — a momentary peak 3 LU above a −14 target is
  three quarters grey with an amber cap, not an amber bar.
• The super meter's target tick is drawn at 3 px rather than 2. It is radial,
  so antialiasing spreads it over two pixel columns, and it now also crosses
  the amber above the target — at the old weight it read as an edge between two
  colours rather than as the mark the whole gauge is aimed at.

🐛 Fixed

• The macOS application and its plug-ins load again on every macOS they claim
  to support, and the floor is now 14.2. The engine holds a strong reference
  to CATapDescription — the Core Audio class behind System Output — and a
  strong reference to a class that does not exist is a library dyld cannot
  resolve. Below macOS 14.2 the entire engine library therefore failed to
  load, so the application died at launch and a DAW found the plug-in absent,
  on every version between the old floor and 14.2. Nothing degraded to "no
  system capture"; it was all or nothing. The application previously declared
  10.15 and the plug-ins 11.0, both of which were promises the binaries could
  not keep, and the library itself was being compiled at 13.0 by a build flag
  that ignored either setting. All three are 14.2 now, engine/src/oaa_tap.h
  fails the build if any of them is lowered again, and the five
  unguarded-availability warnings the old floor produced are gone.

• The super meter's target ticks read as marks rather than as rendering
  artefacts. All three are drawn at the emphasis weight now. They are radial,
  so unlike every other target mark in the application they cannot be drawn with
  antialiasing off and land on whole pixels — at the mark weight the same 1.5 px
  was spread across two pixel columns at about half the alpha each, which is a
  deliberate annotation with half the contrast of the ones it was matched to.

• Backspace, Delete and the arrow keys work inside the tab rename field.
  Renaming a tab, the keys that edit text did nothing at all: Backspace and
  Delete are bound to "delete the selected module" and the arrows to "move the
  selected module", and the guard that was supposed to stand these aside while a
  text field has focus was checked one layer too late. CallbackShortcuts
  reports a key handled the moment its activator matches, whatever the callback
  then decides, so the keystroke was consumed and never reached Flutter's own
  text editing bindings. Typing was unaffected throughout, which is why this was
  easy to miss and infuriating to hit: a name could be entered but not
  corrected. The guarded chords are now absent from the map while a field has
  focus rather than present and declining.

• An alert meter's latch can be cleared again after the source has gone
  quiet. The latch holds the worst reading since the last reset and is cleared
  by the elapsed clock running backwards, which is what a reset looks like. A
  link that goes quiet reports its elapsed time as "not a number", that value
  was stored, and every later comparison against it was false — so the lamp
  stayed lit for the rest of the session, across every source selected
  afterwards. It now ignores a non-number rather than remembering one.

• A remote display no longer receives one frame of the previous source's
  audio. The waveform collected for the tablet was not dropped when the
  desktop switched sources, so up to one publish interval of the old
  programme was sent spliced onto the front of the new one's first frame — a
  join the display had no way to know about.

• The oscilloscope's trace no longer comes apart at short time bases. From
  about 20 ms to 100 ms across the width, one or two samples land in each
  column of the display, so each was drawn as a dot a pixel tall with nothing
  joining it to its neighbours — a waveform that arrived on screen as a dashed
  line. Columns now reach to the one before them, which draws the connecting
  line a per-sample trace would have drawn anyway, and the picture is snapped to
  whole pixels so its density no longer flickers sample by sample. Below 10 ms,
  where the display is one point per sample, the trace is a single joined
  polyline instead of a segment per sample; independent segments were composited
  independently and the line read as chewed.

• The Super Meter's arcs no longer step ten times a second. Momentary,
  short-term and integrated loudness advance on the engine's 100 ms gating
  grid, and the meters repaint at about 47 Hz — so four frames in five drew the
  arcs exactly where the frame before had left them and the fifth jumped, which
  on a gauge that size reads as an instrument stuttering. The arcs now travel
  between readings over 50 ms, which is half the gap between them and an eighth
  of the shortest window any of the three measures. No reading changes: every
  number the module prints, and the pass or fail colour it takes, is the
  measurement drawn the frame it arrives.

• The playhead and the elapsed clock in the status bar are packed left, like
  the pair on a remote display's link bar, and the gap between them is the
  same seam as every other one in the row. Both used to sit in boxes reserved
  for the widest thing they could ever print — a drop-frame timecode, eleven
  glyphs — so a host counting bars left 56 px of nothing beside its own counter,
  and the elapsed clock another 14. The boxes are the width of what is in them
  now.

• The rule between items in a menu is no longer drawn in pure white.
  Material's outlineVariant — the colour a Material 3 divider actually reads
  — was never named in the theme, and a ColorScheme role left unset falls
  back to a foreground colour: #FFFFFF under a dark skin and #000000
  under a light one. So the rules in the signal-source menu were brighter than
  any colour a skin defines and brighter than the text beside them. They are
  the hairline every other division in the application uses, at the graticule
  weight rather than the border weight so they still read against the raised
  surface a menu is drawn on.

• A module's settings no longer look like entries that cannot be chosen. The
  Metric, Response and Time base rows in a module's menu were drawn in
  muted text to mark them as settings rather than actions, directly above a
  Duplicate at full brightness — which is what a disabled item looks like
  everywhere else in the interface, including in the menu one row up. They are
  the same colour as every other row now, and a rule separates them from
  Duplicate and Delete instead.

• A module setting reads Time base: 50 ms where it read Time base — 50 ms.
  An em dash between a setting and its value is the punctuation this interface
  uses for a value that was never measured, and a menu row is the one place
  that reading is available.

• The oscilloscope on a remote display draws a continuous waveform. It
  could not before, at either of the two slower link rates, and the reason was
  structural rather than a slip: a snapshot carried one analysis block — 1,024
  frames, 21.3 ms at 48 kHz — while a link at 30 Hz stands for 1,600 frames of
  audio and one at 15 Hz for 3,200. The module worked out how much audio had
  elapsed, correctly concluded its buffer was no longer contiguous, and cleared
  it. On every single frame. Nothing logged anything and no test failed; it
  simply would not draw, and only the 60 fps rate escaped it. The host now
  accumulates what it measured between two sends and says how much that is, so
  the trace is continuous at 15, 30 and 60. Above 48 kHz on the slowest rate
  more audio can elapse than one frame may carry, and the shortfall is drawn as
  the gap it is rather than filled in.

• A remote display honours the system's reduce-motion preference. It
  ignored it entirely and redrew at 60 fps whatever the tablet had been asked
  for — the desktop reads that preference in its status bar, and a display has
  no status bar. It now caps at 30 fps when the platform asks, like every other
  screen. Choosing the display's own refresh rate from the tablet is still not
  possible; the setting exists but nothing on that screen writes it.

• The phase scope costs less than half what it did to draw, which is felt
  on a tablet before anywhere else. It was 9.6 ms of rasterising per frame on
  an Apple Silicon Mac — over half a 60 fps budget for one module — and is now
  3.3 ms, from switching off antialiasing that a 1.4 px dot in a cloud of tens
  of thousands gains nothing from, and from drawing the dimmest half of the
  trail more sparsely than the half you actually read. The trail is the same
  length, fades over the same time, and is still computed exactly rather than
  compounded through an 8-bit surface. The figure it draws is unchanged; the
  faintest edge of the cloud is very slightly sparser.

• A remote display uses less than half the network it did. The measurement
  frame is 7,648 bytes where it was 15,056, so a tablet at the default 30 Hz
  link rate now costs about 230 kB/s instead of 452 kB/s, and 406 kB/s instead
  of 904 kB/s at 60 Hz. The five arrays that exist only to be drawn — the
  spectrum, its peak hold, its pan, the scope and the histogram — travel as
  fixed point instead of 32-bit floats, at a resolution between two and four
  orders of magnitude finer than the pixels they land on. No number you read
  changes: every scalar, and the per-channel peak, RMS, VU and clip figures,
  are carried exactly as before. This is wire protocol version 4, so a tablet
  and a desktop must be on the same release to link — a mismatch is refused at
  connect with a sentence naming both. A plugin already installed in your DAW
  keeps working with a newer app, as it did before.

  The waveform is the one thing that got bigger: it is now carried at the rate
  it was measured rather than one block a frame (see the oscilloscope entry
  under Fixed), which costs about 190 kB/s at 48 kHz whatever the link rate. Net
  of that, 30 Hz is still down by a third and 60 Hz by more than half; 15 Hz is
  the one rate that costs slightly more than it did, and it is the rate that was
  most broken.

🚧 Internal

• packages/oaa_engine/test/vectors_test.dart runs the two official vector sets
  through the decoder and the engine: the EBU Loudness Test Set — every case in
  Table 1 of Tech 3341 and of Tech 3342 — and the compliance material of Report
  ITU-R BS.2217. 112 cases, all passing, and each group skips unless
  OAA_VECTORS or OAA_VECTORS_ITU names an unzipped copy. Not a gate, because
  neither set may be redistributed here and fetching 811 MB would put the
  network in front of the one suite that must never be flaky; the generated
  cases in conformance_test.dart remain the gate, and now assert the 7.1
  weights too, since no official file can be committed to hold them. Both
  measurement entries above are what the first run found.
• The six ITU files wider than 7.1 — 10, 12 and 24 channels — are asserted to be
  refused rather than measured. The engine carries eight channels and has no
  weights for those layouts, so a number would be worse than an error.
• Decoding a snapshot was measured and cleared as a cause of a slow tablet:
  4 µs a frame against a 33,000 µs budget at the default link rate. It was
  briefly rewritten as nine block copies, eleven times faster and worth
  nothing; protocol version 4 then made that impossible anyway, because
  fixed-point arrays have to be converted element by element rather than moved.
  Recorded because the wire was the obvious suspect and was the wrong one —
  the cost was in a single module's rasterising, two benchmarks away.
• tool/bench_wire.dart and tool/bench_modules.dart measure the two halves of
  what a remote display costs — decoding a frame, and drawing it — with
  recording and rasterising reported separately, because they are different
  costs on different threads and the interesting one is not always the one
  being measured.
• tool/bench_gpu.dart measures the same modules on a real GPU, off the
  engine's own frame timings in a profile build. It exists because the software
  rasteriser flutter test uses overstated the phase scope by two and a half
  times and reordered the table under it — the module that needed the work was
  still the one at the top, but no figure from a software backend was worth
  quoting.
• Every benchmark now reports how many pixels it inked, and fails or says so
  loudly when that is none. The harness had drifted from the wire layout it was
  writing by hand and stopped drawing altogether, while still reporting timings
  that were low, stable and entirely plausible; it was caught by somebody
  looking at the window rather than by anything in the suite. The material is
  now built through the real encoder and decoder — tool/bench_material.dart —
  so there is no second implementation of the protocol to drift.
• website/ holds open-audio-analyzer.com: a static Astro site, deployed by
  hand to Cloudflare Workers, in this repository rather than beside it because
  its content is derived from the code next to it. The numbers on its front page
  are measured at build time by website/scripts/measure.mjs rather than typed,
  and the fourteen thumbnails in its module catalogue are photographs of the real
  widgets, taken from package:oaa by website/tools/module-renderer — an
  approximation of a measurement display is the one picture this project should
  not publish. No job in ci.yml builds it or deploys it, and nothing in a
  release contains it.