Docs Autonomous mode

Autonomous mode

The mode where you press play and stop looking at the laptop. It is built to be left alone for hours, which is a different engineering problem from mixing two tracks well.

The one-tempo law

A set runs at a single tempo for its whole length, taken from the opening track or set by you. Not a drift of a hundredth of a percent. Every track is pulled to that tempo without changing its pitch, and anything that would have to be stretched past the legal warp band is ruled out before it is ever considered.

This is why hours of continuous mixing hold together. It is also why a track wildly outside the locked tempo will not appear in the set, however well it would otherwise fit.

The no-repeat law

A track plays once per session. The exclusion is checked against a persistent history rather than a short rolling window, so hour five still knows what played in hour one. When the library is too small to keep the promise, the app announces the degrade rather than repeating quietly.

Crash-resume

A session journal and a playhead heartbeat are written as the set plays. If the application dies, it comes back, sees the journal, and offers to resume from where the room stopped. This exists because it happened.

Endless mode

Endless has no planned length. It composes a few tracks ahead of what you are hearing, then composes the next stretch before the current one runs out, working outward from the track that is playing. The two stretches are joined by carrying a piece of the last one across, so the join is a real blend and not a cut.

The trade against a planned set is honest: a planned set sees the whole night at once and can shape an arc, while endless sees a few tracks and has to start each chapter from the track it is on. Planned sets are the better document; endless is the one that plays until you turn it off.

The gates

• Measured-map floor (0.85). A pairing only counts as proven once its transition has been built as audio and scored at or above this. If the engine ever has to reach below the floor, it tells you on screen instead of playing it quietly.
• Established handoff (3.0 dB). The incoming track has to arrive into a section that is already running. If it would jump in louder than this, the blend is stretched to the next phrase or a different track is chosen.
• Tempo lock (6%). Tracks too far from the tempo of the night are ruled out before anything else is considered, so nothing gets stretched into a chipmunk.
• Legal warp band (12%). A hard ceiling on how far any track can be pulled from its own natural tempo, however much the rest of the set would like it to fit.

Steering

You can steer a running set in plain language: calmer, harder, more vocals, stay here. The turn happens at the next stretch the engine has composed, so a change of direction is not instant today. Making it instant is the next thing we are building.

Taking over by hand

Touching a control by hand suspends automation on that control for a couple of seconds after you let go, then hands it back. So you can ride a fader through a moment without fighting the engine and without having to stop it.