Plenio Music Production System

[jplenio]

Changelog

All notable changes of the current version and the one before. Versions follow semantic versioning; published Registry versions are immutable. Earlier versions (0.2.0 to 0.6.1): the changelog of 0.7.0 (0.6.1), the changelog of 0.6.0 (0.5.0 and 0.6.0), the changelog of 0.4.4 (0.2.0 to 0.4.4) and the GitHub releases.

0.8.0 - 2026-10-15

The song's FLAC carries its whole project: drop it onto ComfyUI - or open it in Continue a Plenio song - and you are back in the workflow it was made with. A free cover gets a new melody over the writer's chords: below song flow closeness 80 the melody follows the new harmony - from 50 the notes that clash move, below 50 Plenio writes the melody anew in its old rhythm. The writer sees every note of a bar, the harmony guard knows more clashes, and motifs move along the key's scale.

Added

• The project inside the FLAC (GitHub issue Feature Request: Embed Plenio Project in FLAC and Restore Workflow from Audio #9): Export Release's new project in FLAC (on by default) writes the release record - the workflow, the approved Song Sheets, score, lyrics, style, seeds and settings - into the song's FLAC, gzip-compressed in a metadata block of its own that players skip (a FLAC APPLICATION block, id PLNO, layout plenio.project/1): about 25 KB for a typical record of 300 KB (at most 35 KB in 856 songs measured). File > Continue a Plenio song… opens a song from its FLAC (Open a record or FLAC…), and so does a FLAC dropped onto the empty canvas - the browser reads the record from the file's metadata, nothing is uploaded; a FLAC without a record, one dropped onto a node or with Shift held goes to ComfyUI as before. The .plenio.json next to the song stays. A file cannot hold its own hash: the record lists a FLAC that carries it with the size and SHA-256 it has without the record ("project": "embedded"), so the copy in the FLAC and the .plenio.json are the same record, and two renders with the same audio and tags list the same hash; every FLAC entry also has audio_md5, the MD5 of the decoded audio from the file's STREAMINFO. Secrets stay redacted as in the record; turn the option off for files you share without their making-of (ComfyUI's --disable-metadata turns it off too).

Changed

• A cover's melody follows the new chords (owner's decision): below song flow closeness 80 the melody no longer stays frozen while the writer re-harmonises. From 50 a melody note that clashes with a new chord moves onto it (the nearest chord tone on a strong beat or held for a beat, a step otherwise); below 50 Plenio writes the melody anew over the chords - chord tones on the accents, small steps, phrases that end on a chord tone, near the old line at 49 and freer down to 0 (the arrangement seed picks the phrase shape). A sung melody keeps its rhythm, so its syllables stay on their notes; an instrumental's lead line may also get new rhythms below 45 (from 20 its first bar keeps its rhythm). The lower the closeness, the less the old melody holds the writer's chords back - at 20 they win nearly everywhere. The form always stays; from 80, and in songs, the melody stays as before.
• The writer sees the whole bar's melody: the score table of Compose Arrangement and the re-ask showed only the notes on beats 1 and 3, while the harmony guard weighs every note of the bar - now every note on a beat or an eighth long is shown, those on a strong beat marked (E* G A* B).
• More clashes recognised: the harmony guard also rejects a melody note a half step under a chord's major seventh (Bb against Cmaj7), the Working with Apple Silicon Mac? #4 beside a chord's fifth (F# over C) and, on a strong beat or held, a minor third over a major triad - blues, rock and metal keep their blue third as a short passing note, and over a dominant seventh chord (the blues' I7) also held. The instrument lines follow the same rules.
• Motifs move along the key's scale: a motif figure moved onto another chord keeps its scale steps (C E G over C becomes A C E over Am - before, it moved by semitones and sang A C# E), takes the chord's own tone where the chord alters the scale (G# over E in A minor), and no motif, line or countermelody note clashes on beats 2 and 4 any more.
• Rests in the notation: the score editor and the sheet music draw a rest that runs over the middle of an even bar as two (c2z6z6z2 instead of a dotted half rest hiding beat 3). The score YuE2 reads keeps its own way of writing rests.

0.7.0 - 2026-10-12

More creative modes, no key change unless you ask for one, and instrumentals with more sections to vary.

Added

• Seven new creative modes (owner's request), so the arrangement list runs from simple to rich: unplugged (intimate and acoustic - fingerpicked broken chords, soft pads, low energy), call and response (the instruments answer the melody in the gaps between its phrases, the same answer in every chorus), signature motif (one short figure opens the song, returns in every chorus and closes it - Plenio keeps the plan's first figure in every section that plays it, as a mode file's new motif: one says), hypnotic (one riff or arpeggio over few chords, changing little by little - trance, minimal, krautrock), breakdown (full sections, a drop to almost nothing, a build into a big final section), jazz colours (seventh chords throughout, ii-V turns before a section changes, a mellow countermelody and a solo) and key change (standard plus one lift of the final chorus by a half or whole step, led in by chords). The list is ordered from standard, sterile and unplugged to jazz colours, fantasy and key change.
• The arrangement field's tooltip (Song Brief and Cover Brief) lists every mode with what it does - your own mode files too.
• Checked with a real writer model (Qwen 3.5 9B, held to the plan's format) on two sung songs and two instrumentals of the owner's demos, every mode (52 plans, October 2026): no key change in the twelve modes that keep the key; key change lifted the final section (or the last two) in all four songs; and the modes keep their character - sterile silence and pads at energy 1-3, unplugged broken chords at 2-3, breakdown its drop to energy 1 before the finale, dramatic a rising arc, hypnotic one riff or arpeggio, jazz colours new seventh chords in every section, signature motif and call and response one figure for the whole song (Plenio keeps the plan's first figure in every section that plays it - the writer had varied it).

Changed

• No key change but in the mode key change (owner's request): the writer's plans lifted the key in nearly every song - with standard in all 80 sung songs of the owner's demos, mostly a half step in the last chorus - and it rarely suited the song. Every other mode now keeps the key (standard, varied, fantasy, many instruments and dramatic allowed a lift before; fantasy also a key change in the bridge), their texts no longer suggest one, and the arrangement prompt says that 0 is the right key shift for almost every section. A plan that asks for a lift anyway keeps the key (the plan's format allows no other value).
• Instrumental songs get more sections (owner's request): YuE2 planned 1-3 sections in 44 % of the owner's 110 instrumental demos - mostly an intro and one interlude of 50-120 bars - although its planner read eight section tags, so the arrangement had one or two sections to vary. prepare from brief (Score Tools) now splits a section of more than 16 bars into parts of 8 bars (16 when it is longer than 48) at the nearest barline no melody note is held across, and names them by their music: the first part keeps the section's name (an outro its last part), a part that repeats an earlier one takes its name, a part with new music the next of verse, chorus, bridge, break, solo, interlude. Only section starts are added - the notes stay. On the owner's 110 instrumental scores: no score with fewer than 4 sections (before: 48), most with 6 to 11, notes, chords and length unchanged in every one.
• standard, varied, fantasy, sterile, many instruments and dramatic keep their names (saved workflows go on working); their descriptions say more clearly what they do.

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This discussion was created from the release Plenio Music Production System.

[jplenio]

Any comments to the current release? Feedback, both positive and negative, more than welcome! I want to improve the software!

[McNessie]

I'm absolutely loving playing with this, but there's one thing i'd love to see implemented. When using template 2 for a cover. Is there anyway we can change the source audio for the latest rendered audio in the score editor instead of using the original sound file used for the initial run.

[jplenio]

Thanks for the suggestion. Will consider this for the next release.