Construction

TECHNICAL_GUIDE.md

@@ -145,17 +145,17 @@ Fills replace only a two-bar figure's ending bar, using a same-family variation
 
 Normal acoustic patterns use 1–3 attack positions per full bar. Their event layer is `acoustic`; the instrument's versioned `attack_assignment` policy is `combined_except_eighth_pairs`. Authored bass/upper decisions are replaced by chronological assignment across the complete canonical source form: ordinary attacks are combined, while adjacent half-beat-separated attacks in the same effective harmony become bass then upper. Pairs do not overlap; an odd leftover attack is combined. Bar and two-bar pattern boundaries do not reset pairing. Source-defined entries, handoffs and chorus boundaries do; the same boundary set applies at repeated form positions. Chord changes break pairs, but repeated identical chord labels do not. An anticipation uses its upcoming harmonic region for this decision. First attacks of new harmonic spans still include bass (`first_attack: bass_per_harmony`).
 
-Quarter/eighth articulations and explicitly authored sustains retain their duration unless a chord boundary, handoff or fresh attack on the same strings requires release. Bass may ring beneath a later upper attack. Shortening that would strand an anticipation first rebinds it to current harmony and recomputes assignment. Complete-form assignment happens before grip placement and notation splitting, and is re-evaluated for source-harmony variants. Concrete block caches include their assigned event signature: a neighboring chord change can break a pair even when this block's own harmony is unchanged. The renderer verifies actual sounding lane events against the selected assignment. The completed validator follows sounding tie chains; placement validates all simultaneously sounding strings, fret spans and anchors. The two lanes are merged into one notated part with tied fragments preserving their true durations. The three-bar closing sustain remains combined.
+Quarter/eighth articulations and explicitly authored sustains release at the earliest of their intended end, the next acoustic attack in either lane, or a required harmonic/handoff boundary. Bass cannot ring beneath a later upper attack, nor can an upper chord ring beneath a later bass attack. Combined attacks have one shared release. Shortening that would strand an anticipation first rebinds it to current harmony and recomputes assignment. `acoustic_context` and `realize_acoustic_form` implement the shared source-form contract used by cycle comparison, fill selection and final source-harmony variants, before grip placement or notation splitting. Raw candidates retain authored releases so a changed neighboring attack can be evaluated afresh. Fills must improve the resolved whole-form cost without changing events outside their editable second bar. Concrete block caches include their assigned event signature: a neighboring chord change can break a pair even when this block's own harmony is unchanged. The renderer verifies actual sounding lane events against the selected assignment. The completed validator follows sounding tie chains and rejects any overlap between distinct acoustic attacks, even across different lanes. Placement validates all simultaneously sounding strings, fret spans and anchors. Bass and upper events merge into one notated part. Uninterrupted cross-bar holds and the combined three-bar closing sustain remain intact.
 
 Electric normally uses 0–2 attack positions per bar, with stabs, sustains and space. Direct events release at changed harmony. An eligible acoustic/electric template can anticipate a chord by half a beat when it continues into that chord; the grip comes from the upcoming harmony and releases by its following change. Acoustic anticipations also include bass on the new chord's first attack. Missing harmony remains silent. Protected participation limits retain the chosen figure, shortening only its affected releases and recording exceptions. Cross-bar sounding notes become ties, never automatic merging of repeated attacks.
 
 All six production roles receive reuse audits. Musical comparisons include rests, pitch durations, ties and TAB while ignoring regenerated event IDs and global measure numbers. Source-defined pickup/participation changes and effective final-turnaround harmony are reported separately. The final three-bar hold remains instrumental.
 
-Named activity, melody-support, harmonic-support and articulation contributions evaluate complete figures. Cycle selection aggregates them over all occurrences, retaining family diversity before the final bounded comparison. For electric, `groove_cycles.cost` is the selected base cycle's aggregate cost before optional fills. Acoustic reports preserve this as `retrieval_cost` and report `cost` for the final assigned source-form events, including selected fills and cross-block pairing. Reports identify the base slot, realized pattern, projected events, continuations, anticipation target times and source-context exceptions. Tempo affects metadata/cache identity but never musical choice. The acoustic assignment policy and data migrate independently; the electric choice domain and other roles' musical seeds are unchanged.
+Named activity, melody-support, harmonic-support and articulation contributions evaluate complete figures. Cycle selection aggregates them over all occurrences, retaining family diversity before the final bounded comparison. `groove_cycles.retrieval_cost` is the isolated-figure estimate used for shortlisting. `cost` is the actual selected base cycle's cost before optional fills; acoustic cycles are assigned and released together before this comparison. Acoustic `final_cost` reports the complete source-form result after fills and any meter-section joins. The selected score is never overwritten by a post-selection report. Reports identify the base slot, realized pattern, projected events, continuations, anticipation target times and source-context exceptions. Tempo affects metadata/cache identity but never musical choice. This release correction leaves musical data and role choice seeds unchanged; code fingerprints invalidate stale concrete caches.
 
 Acoustic events use temporary bass/upper notation lanes for projection; then `acoustic.combine` converts their sounding intervals to one rhythmic voice before assembly. It splits notes at attack/release boundaries and ties only continuing pitches; repeated attacks stay separate. Staff and TAB share the result, with no competing rests or opposing layer stems. This preserves exact sounding durations instead of truncating overlaps. The older truncating `prepare` helper serves only the noncanonical legacy/test path. The product build audits canonical accompaniment reuse across arrangement iterations, allowing only source-derived changes in harmony, pickups and role handoffs. The `.roles` sidecars report pattern IDs, exact projected layer events, continuations, anticipation targets and exceptions. Their `selection_cost` records the complete figure’s local contributions, repeated on each projected bar for context; the cycle selector aggregates these by the number of measures in each occurrence, without an anti-repetition transition cost. Accompaniment dependency keys contain only that instrument's policy; electric melody consumes the shared electric voicing families. Solos retain their existing learned source-melody/harmony conditioning and registered exact performances.
 
-Acoustic pair-assignment verification on October 7, 2026: the full containerized `unittest discover -s tests -p 'test_*.py'` passed 447 tests. After adding the explicit cross-bar meter case and retaining the existing long-sustain boundary semantics, the final targeted run (`tests.test_acoustic_pairs tests.test_comping_rhythm tests.test_comping_cycles tests.test_comping_meters tests.test_arrangement_ending tests.test_chord_families.CombinedAcoustic`) passed 63 tests. The first full run exposed a broken-tie check that had depended on rejecting a long separate event; explicit reciprocal-link, timing and pitch/TAB checks now reject it directly. A host-only targeted command could not import Modulus's build dependencies; the configured-container rerun passed. Native and ARM product builds passed asset checks, with 394 identical JSON/PNG artifacts. Both acoustic score/TAB pages were visually inspected. All ten other-role documents exactly match the saved pre-change baseline. The acoustic source-form reports show 64 combined attacks for All of Me, and 48 combined plus 16 bass/upper pairs for Autumn Leaves; these are observations, not quotas. No audio audition was performed. Comparison copies remain outside the repository under `/tmp/`.
+Acoustic sequential-release verification on October 7, 2026: `python3 modulus.py python -m unittest discover -s tests -p 'test_*.py'` passed 451 tests in 162.318 seconds. Coverage includes release in both lane directions, cross-bar pairing in 3/4, 4/4 and both 5/4 groupings, expired and surviving anticipations, complete-cycle ranking versus isolated retrieval, fills protecting neighboring assignments, malformed overlap before/after notation merging, canonical reuse, cold/warm caches and parallel roles. `python3 modulus.py format --check` passed. `python3 modulus.py build --target x86_64_gcc12_debug --target arm_64_gcc12_release` passed both generator/asset checks; 394 score JSON/PNG artifacts match across targets. Acoustic composition took 2.1 seconds for All of Me and 2.2 seconds for Autumn Leaves; native assets finished in 31 seconds and the cached ARM build in 11 seconds. Compared with the saved pre-change output, all attack pitches, onsets and TAB positions are identical: only 67 Autumn Leaves bass releases are shorter. Its arrangement measure 3 now contains bass [0, 1/2), upper chord [1/2, 3/2), and combined chord [2, 3), without ties. All of Me and the ten other-role documents are unchanged. Canonical reuse audits pass, and both three-bar instrumental endings retain one twelve-beat attack. Both acoustic opening pages were visually inspected; no audio audition was performed. The comparison baseline remains outside the repository under `/tmp/vamp-sequential-acoustic-yt_irkfd`.
 
 Monophonic solos use strings 1–6 and frets 1–12, with no open strings or acoustic/electric string restrictions. Placement compares complete paths through legal positions, accounting for hand-region changes, travel time and string crossings. Ties retain their position. Chord placement retains its separate policy: frets 1–20, a sounding anchor on frets 1–12, primary spans of up to three consecutive positions and fallback spans of exactly four. The span is inclusive: 7–9 is three positions, 7–10 is four. Five positions are always invalid. The anchor must remain sounding, including after shorter notes release. Acoustic accompaniment additionally keeps its bass within frets 1–12 and requires an independent anchor in its upper three-note cluster, preserving the option of separate bass/upper attacks. These costs approximate physical feasibility; they do not assign fingers or guarantee comfortable playing.