diff --git a/js/app.js b/js/app.js
index 41031f6..04acf68 100644
--- a/js/app.js
+++ b/js/app.js
@@ -14,6 +14,10 @@ document.addEventListener('DOMContentLoaded', () => {
const alerts = new AlertSynth(audioManager);
const whoniverseAudio = new WhoniverseAudioSynth(audioManager);
const expandedAudio = new ExpandedSciFiAudioSynth(audioManager);
+ const engineTransitions = new EngineTransitionSynth(audioManager);
+ window.expandedAudio = expandedAudio;
+ window.whoniverseAudio = whoniverseAudio;
+ window.engineTransitions = engineTransitions;
const visualizer = new StarshipVisualizer(audioManager, warpCore);
const observationEngine = new ObservationEngine(audioManager, warpCore, alerts, hullDrone, lifeSupport);
window.observationEngine = observationEngine;
@@ -306,7 +310,14 @@ document.addEventListener('DOMContentLoaded', () => {
syncSlidersToSynthParams();
+ expandedAudio.stopAllLoops();
if (isPlaying) {
+ if (presetId === 'sta-sevastopol') {
+ expandedAudio.startStationSparks(4000, 11000);
+ } else if (presetId === 'sta-gateway' || presetId.includes('sickbay') || presetId.includes('med')) {
+ expandedAudio.startMedicalMonitor(1.15);
+ }
+
if (activeUniverseId === 'whoniverse') whoniverseAudio.synthesizeDematSwitch();
else if (activeUniverseId === 'industrial') expandedAudio.synthesizeDockingClamp();
else telemetry.synthesizeLCARSSingleChirp();
@@ -344,39 +355,93 @@ document.addEventListener('DOMContentLoaded', () => {
}
// 5. Play / Pause Master Toggle
+ let isTransitioning = false;
+ const ENGINE_TRANSITION_SECS = 2.5;
+
async function togglePlay() {
+ if (isTransitioning) return;
+
+ const engineProfile = typeof getEngineProfileForPreset === 'function'
+ ? getEngineProfileForPreset(activePresetId, activeUniverseId)
+ : 'galaxy';
+
if (!isPlaying) {
+ isTransitioning = true;
await audioManager.resume();
- hullDrone.start();
- warpCore.start();
- lifeSupport.start();
- telemetry.start();
- isPlaying = true;
- btnPlay.classList.add('playing');
- playIcon.textContent = '■';
- playText.textContent = 'DISENGAGE';
- statAudioStatus.textContent = 'ONLINE';
- statAudioStatus.style.color = '#00ff88';
+ // Flashing state while engaging
+ btnPlay.classList.add('engaging');
+ btnPlay.classList.remove('playing', 'stopping');
+ statAudioStatus.textContent = 'ENGAGING...';
+ statAudioStatus.style.color = '#ffcc00';
+ // Layered & Staged Procedural Startup Script for this Profile
+ engineTransitions.playStartup(engineProfile, ENGINE_TRANSITION_SECS);
+
+ // Acoustic chime / chirp feedback
if (activeUniverseId === 'whoniverse') whoniverseAudio.synthesizeTelepathicChime();
else if (activeUniverseId === 'bioships') expandedAudio.synthesizeStarburst();
else telemetry.synthesizeLCARSDoubleChirp();
+
+ // Start engine sounds with smooth spool-up ramp
+ hullDrone.start(ENGINE_TRANSITION_SECS);
+ warpCore.start(ENGINE_TRANSITION_SECS);
+ lifeSupport.start(ENGINE_TRANSITION_SECS);
+ telemetry.start();
+
+ setTimeout(() => {
+ isPlaying = true;
+ isTransitioning = false;
+
+ btnPlay.classList.remove('engaging');
+ btnPlay.classList.add('playing');
+ playIcon.textContent = '■';
+ playText.textContent = 'FULL STOP';
+ statAudioStatus.textContent = 'ONLINE';
+ statAudioStatus.style.color = '#00ff88';
+
+ if (activePresetId === 'sta-sevastopol') {
+ expandedAudio.startStationSparks(4000, 11000);
+ } else if (activePresetId === 'sta-gateway' || activePresetId.includes('sickbay') || activePresetId.includes('med')) {
+ expandedAudio.startMedicalMonitor(1.15);
+ }
+ }, ENGINE_TRANSITION_SECS * 1000);
+
} else {
- hullDrone.stop();
- warpCore.stop();
- lifeSupport.stop();
+ isTransitioning = true;
+
+ // Flashing state while stopping
+ btnPlay.classList.remove('playing', 'engaging');
+ btnPlay.classList.add('stopping');
+ statAudioStatus.textContent = 'STOPPING...';
+ statAudioStatus.style.color = '#ff9900';
+
+ // Layered & Staged Procedural Shutdown Script for this Profile
+ engineTransitions.playShutdown(engineProfile, ENGINE_TRANSITION_SECS);
+
+ if (activeUniverseId === 'whoniverse') whoniverseAudio.synthesizeLeverClunk();
+ else telemetry.synthesizeLCARSDoubleChirp();
+
+ // Stop engine sounds with smooth spool-down fade
+ hullDrone.stop(ENGINE_TRANSITION_SECS);
+ warpCore.stop(ENGINE_TRANSITION_SECS);
+ lifeSupport.stop(ENGINE_TRANSITION_SECS);
telemetry.stop();
+ expandedAudio.stopAllLoops();
alerts.stopAlert();
whoniverseAudio.stopCloisterBell();
resetAlertButtons();
- isPlaying = false;
- btnPlay.classList.remove('playing');
- playIcon.textContent = '▶';
- playText.textContent = 'ENGAGE AMBIENCE';
- statAudioStatus.textContent = 'STANDBY';
- statAudioStatus.style.color = '#ffcc00';
+ setTimeout(() => {
+ isPlaying = false;
+ isTransitioning = false;
+
+ btnPlay.classList.remove('stopping');
+ playIcon.textContent = '▶';
+ playText.textContent = 'ENGAGE';
+ statAudioStatus.textContent = 'STANDBY';
+ statAudioStatus.style.color = '#ffcc00';
+ }, ENGINE_TRANSITION_SECS * 1000);
}
}
@@ -588,7 +653,8 @@ document.addEventListener('DOMContentLoaded', () => {
visualizer.spawnWarpPulses();
break;
case 'solar':
- alerts.synthesizeWarpJump();
+ expandedAudio.synthesizeSolarRoar();
+ visualizer.spawnWarpPulses();
break;
case 'afterburner':
expandedAudio.synthesizeAfterburner();
@@ -609,7 +675,24 @@ document.addEventListener('DOMContentLoaded', () => {
}
function handleSoundboardTrigger(id) {
+ const universe = UniverseRegistry[activeUniverseId];
+ const preset = universe && universe.presets ? universe.presets[activePresetId] : null;
+ const era = preset ? preset.era : 'tng';
+
switch (id) {
+ // Star Trek
+ case 'btn-comm-badge':
+ expandedAudio.synthesizeCommBadge();
+ break;
+ case 'btn-door-swish':
+ expandedAudio.synthesizeDoorSwish(era);
+ break;
+ case 'btn-bosun-whistle':
+ expandedAudio.synthesizeBosunWhistle();
+ break;
+ case 'btn-medical-monitor':
+ expandedAudio.synthesizeMedicalMonitor();
+ break;
case 'btn-chirp-single':
case 'btn-switch-pop':
telemetry.synthesizeLCARSSingleChirp();
@@ -626,9 +709,17 @@ document.addEventListener('DOMContentLoaded', () => {
case 'btn-chirp-door':
telemetry.synthesizeDoorChime();
break;
+
+ // Whoniverse
case 'btn-sonic':
whoniverseAudio.synthesizeSonicScrewdriver();
break;
+ case 'btn-lever-clunk':
+ whoniverseAudio.synthesizeLeverClunk();
+ break;
+ case 'btn-tardis-door':
+ whoniverseAudio.synthesizeTardisDoor();
+ break;
case 'btn-fast-return':
whoniverseAudio.synthesizeFastReturn();
break;
@@ -644,33 +735,84 @@ document.addEventListener('DOMContentLoaded', () => {
whoniverseAudio.synthesizeDematSwitch();
telemetry.synthesizeSensorSweep();
break;
+
+ // Space Stations
+ case 'btn-air-handler':
+ expandedAudio.synthesizeAirHandlerThud();
+ break;
+ case 'btn-mag-boot':
+ expandedAudio.synthesizeMagBootLatch();
+ break;
+ case 'btn-commlock':
+ expandedAudio.synthesizeCommlockTone();
+ break;
+ case 'btn-sevas-spark':
+ expandedAudio.synthesizeSevastopolSpark();
+ break;
+ case 'btn-station-ecg':
+ expandedAudio.synthesizeStationMedicalPing();
+ break;
+ case 'btn-tram-gong':
+ whoniverseAudio.synthesizeCloisterStrike();
+ break;
+
+ // Deep Space
+ case 'btn-solar-roar':
+ expandedAudio.synthesizeSolarRoar();
+ break;
+ case 'btn-cryo-sigh':
+ expandedAudio.synthesizeCryoDepressurize();
+ break;
+ case 'btn-orion-thump':
+ expandedAudio.synthesizeOrionPulseThump();
+ break;
+
+ // Outlaw & Frontier
+ case 'btn-tape-clunk':
+ expandedAudio.synthesizeCassetteTransport();
+ break;
+ case 'btn-grappler-servo':
+ expandedAudio.synthesizeGrapplerServo();
+ break;
+ case 'btn-radio-static':
+ expandedAudio.synthesizeRadioStatic();
+ break;
+ case 'btn-afterburner-snd':
+ expandedAudio.synthesizeAfterburner();
+ break;
+
+ // Comedy & Adventure
+ case 'btn-cheerful-door':
+ expandedAudio.synthesizeCheerfulDoor();
+ break;
+ case 'btn-tea-machine':
+ expandedAudio.synthesizeTeaDispenser();
+ break;
+ case 'btn-kettle-whistle':
+ expandedAudio.synthesizeKettleWhistle();
+ break;
+ case 'btn-plaid-alarm':
+ expandedAudio.synthesizePlaidAlarm();
+ break;
+ case 'btn-beryllium-pulse':
+ expandedAudio.synthesizeImprobabilityFlip();
+ break;
+
+ // General / Industrial / Military
case 'btn-geiger':
expandedAudio.synthesizeGeigerBurst();
break;
case 'btn-dock-clamp':
case 'btn-pneumatic-door':
- case 'btn-tape-clunk':
expandedAudio.synthesizeDockingClamp();
break;
- case 'btn-air-handler':
- expandedAudio.synthesizeAirHandlerThud();
- break;
case 'btn-dradis-ping':
expandedAudio.synthesizeDradisPing();
break;
case 'btn-hal-chime':
expandedAudio.synthesizeHalChime();
break;
- case 'btn-cheerful-door':
- expandedAudio.synthesizeCheerfulDoor();
- break;
- case 'btn-beryllium-pulse':
- case 'btn-tea-machine':
- expandedAudio.synthesizeImprobabilityFlip();
- break;
- case 'btn-tram-gong':
- whoniverseAudio.synthesizeCloisterStrike();
- break;
+
default:
telemetry.synthesizeLCARSSingleChirp();
break;
@@ -3960,4 +4102,3 @@ document.addEventListener('DOMContentLoaded', () => {
updateMasterVolumeUI(0.75, false);
visualizer.init('spectrum-canvas', 'warp-core-canvas');
});
-
diff --git a/js/audio.js b/js/audio.js
index 9328af2..9b48ccf 100644
--- a/js/audio.js
+++ b/js/audio.js
@@ -208,14 +208,20 @@ class HullDroneSynth {
};
}
- start() {
+ start(rampDuration = 0) {
this.stop();
const ctx = this.am.ctx;
if (!ctx) return;
// Channel Gain Node
this.gainNode = ctx.createGain();
- this.gainNode.gain.setValueAtTime(this.isMuted ? 0 : this.params.volume, ctx.currentTime);
+ const targetVol = this.isMuted ? 0 : this.params.volume;
+ if (rampDuration > 0) {
+ this.gainNode.gain.setValueAtTime(0.0001, ctx.currentTime);
+ this.gainNode.gain.linearRampToValueAtTime(targetVol, ctx.currentTime + rampDuration);
+ } else {
+ this.gainNode.gain.setValueAtTime(targetVol, ctx.currentTime);
+ }
// Steep Lowpass Filter (24dB/oct via 2 cascading biquads)
this.filterNode = ctx.createBiquadFilter();
@@ -283,7 +289,22 @@ class HullDroneSynth {
this.nodes = [this.subOsc1, this.subOsc2, this.noiseSource, lfo, osc1Gain, osc2Gain, noiseGain, lfoGain, this.filterNode, filterStage2, this.gainNode];
}
- stop() {
+ stop(fadeDuration = 0) {
+ if (fadeDuration > 0 && this.nodes.length > 0 && this.gainNode && this.am.ctx) {
+ const now = this.am.ctx.currentTime;
+ this.gainNode.gain.cancelScheduledValues(now);
+ this.gainNode.gain.setValueAtTime(Math.max(0.0001, this.gainNode.gain.value), now);
+ this.gainNode.gain.linearRampToValueAtTime(0.0001, now + fadeDuration);
+ if (this.stoppingTimeout) clearTimeout(this.stoppingTimeout);
+ this.stoppingTimeout = setTimeout(() => {
+ this.stop(0);
+ }, fadeDuration * 1000);
+ return;
+ }
+ if (this.stoppingTimeout) {
+ clearTimeout(this.stoppingTimeout);
+ this.stoppingTimeout = null;
+ }
if (this.nodes.length > 0) {
try {
if (this.subOsc1) this.subOsc1.stop();
@@ -296,6 +317,10 @@ class HullDroneSynth {
try { node.disconnect(); } catch (e) {}
});
this.nodes = [];
+ this.subOsc1 = null;
+ this.subOsc2 = null;
+ this.noiseSource = null;
+ this.gainNode = null;
}
}
@@ -369,13 +394,19 @@ class WarpCoreSynth {
this.onPulse = null; // Callback for UI visualizer pulse animation!
}
- start() {
+ start(rampDuration = 0) {
this.stop();
const ctx = this.am.ctx;
if (!ctx) return;
this.gainNode = ctx.createGain();
- this.gainNode.gain.setValueAtTime(this.isMuted ? 0 : this.params.volume, ctx.currentTime);
+ const targetVol = this.isMuted ? 0 : this.params.volume;
+ if (rampDuration > 0) {
+ this.gainNode.gain.setValueAtTime(0.0001, ctx.currentTime);
+ this.gainNode.gain.linearRampToValueAtTime(targetVol, ctx.currentTime + rampDuration);
+ } else {
+ this.gainNode.gain.setValueAtTime(targetVol, ctx.currentTime);
+ }
// Filter Node
this.filterNode = ctx.createBiquadFilter();
@@ -389,12 +420,22 @@ class WarpCoreSynth {
// Carrier & Modulator Oscillators (FM Engine)
this.carrier = ctx.createOscillator();
this.carrier.type = this.params.pulseShape === 'tos' ? 'sawtooth' : (this.params.pulseShape === 'nx' ? 'triangle' : 'sine');
- this.carrier.frequency.setValueAtTime(this.params.carrierFreq, ctx.currentTime);
+ if (rampDuration > 0) {
+ this.carrier.frequency.setValueAtTime(Math.max(20, this.params.carrierFreq * 0.45), ctx.currentTime);
+ this.carrier.frequency.exponentialRampToValueAtTime(this.params.carrierFreq, ctx.currentTime + rampDuration);
+ } else {
+ this.carrier.frequency.setValueAtTime(this.params.carrierFreq, ctx.currentTime);
+ }
// Sub-harmonic oscillator for massive bottom end
this.subOsc = ctx.createOscillator();
this.subOsc.type = 'sine';
- this.subOsc.frequency.setValueAtTime(this.params.carrierFreq * 0.5, ctx.currentTime);
+ if (rampDuration > 0) {
+ this.subOsc.frequency.setValueAtTime(Math.max(12, this.params.carrierFreq * 0.22), ctx.currentTime);
+ this.subOsc.frequency.exponentialRampToValueAtTime(this.params.carrierFreq * 0.5, ctx.currentTime + rampDuration);
+ } else {
+ this.subOsc.frequency.setValueAtTime(this.params.carrierFreq * 0.5, ctx.currentTime);
+ }
const subGain = ctx.createGain();
subGain.gain.setValueAtTime(0.6, ctx.currentTime);
@@ -542,7 +583,29 @@ class WarpCoreSynth {
}
}
- stop() {
+ stop(fadeDuration = 0) {
+ if (fadeDuration > 0 && this.nodes.length > 0 && this.gainNode && this.am.ctx) {
+ const now = this.am.ctx.currentTime;
+ this.gainNode.gain.cancelScheduledValues(now);
+ this.gainNode.gain.setValueAtTime(Math.max(0.0001, this.gainNode.gain.value), now);
+ this.gainNode.gain.linearRampToValueAtTime(0.0001, now + fadeDuration);
+ if (this.carrier) {
+ try {
+ this.carrier.frequency.cancelScheduledValues(now);
+ this.carrier.frequency.setValueAtTime(this.carrier.frequency.value, now);
+ this.carrier.frequency.linearRampToValueAtTime(Math.max(20, this.params.carrierFreq * 0.35), now + fadeDuration);
+ } catch (e) {}
+ }
+ if (this.stoppingTimeout) clearTimeout(this.stoppingTimeout);
+ this.stoppingTimeout = setTimeout(() => {
+ this.stop(0);
+ }, fadeDuration * 1000);
+ return;
+ }
+ if (this.stoppingTimeout) {
+ clearTimeout(this.stoppingTimeout);
+ this.stoppingTimeout = null;
+ }
if (this.pulseInterval) {
clearInterval(this.pulseInterval);
this.pulseInterval = null;
@@ -556,6 +619,9 @@ class WarpCoreSynth {
try { node.disconnect(); } catch (e) {}
});
this.nodes = [];
+ this.carrier = null;
+ this.subOsc = null;
+ this.gainNode = null;
}
}
@@ -596,13 +662,19 @@ class LifeSupportSynth {
};
}
- start() {
+ start(rampDuration = 0) {
this.stop();
const ctx = this.am.ctx;
if (!ctx) return;
this.gainNode = ctx.createGain();
- this.gainNode.gain.setValueAtTime(this.isMuted ? 0 : this.params.volume, ctx.currentTime);
+ const targetVol = this.isMuted ? 0 : this.params.volume;
+ if (rampDuration > 0) {
+ this.gainNode.gain.setValueAtTime(0.0001, ctx.currentTime);
+ this.gainNode.gain.linearRampToValueAtTime(targetVol, ctx.currentTime + rampDuration);
+ } else {
+ this.gainNode.gain.setValueAtTime(targetVol, ctx.currentTime);
+ }
// Highpass filter (cuts muddy lows)
const hpFilter = ctx.createBiquadFilter();
@@ -663,7 +735,22 @@ class LifeSupportSynth {
];
}
- stop() {
+ stop(fadeDuration = 0) {
+ if (fadeDuration > 0 && this.nodes.length > 0 && this.gainNode && this.am.ctx) {
+ const now = this.am.ctx.currentTime;
+ this.gainNode.gain.cancelScheduledValues(now);
+ this.gainNode.gain.setValueAtTime(Math.max(0.0001, this.gainNode.gain.value), now);
+ this.gainNode.gain.linearRampToValueAtTime(0.0001, now + fadeDuration);
+ if (this.stoppingTimeout) clearTimeout(this.stoppingTimeout);
+ this.stoppingTimeout = setTimeout(() => {
+ this.stop(0);
+ }, fadeDuration * 1000);
+ return;
+ }
+ if (this.stoppingTimeout) {
+ clearTimeout(this.stoppingTimeout);
+ this.stoppingTimeout = null;
+ }
if (this.nodes.length > 0) {
try {
if (this.noiseSource) this.noiseSource.stop();
@@ -672,6 +759,8 @@ class LifeSupportSynth {
try { node.disconnect(); } catch (e) {}
});
this.nodes = [];
+ this.noiseSource = null;
+ this.gainNode = null;
}
}
@@ -794,20 +883,26 @@ class TelemetrySynth {
case 'ds9':
Math.random() > 0.5 ? this.synthesizeCardassianSensor() : this.synthesizeLCARSSingleChirp();
break;
- case 'voyager':
- Math.random() > 0.4 ? this.synthesizeLCARSDoubleChirp() : this.synthesizeSensorSweep();
+ case 'voyager': {
+ const r = Math.random();
+ if (r < 0.12) this.synthesizeCommBadge();
+ else if (r < 0.55) this.synthesizeLCARSDoubleChirp();
+ else this.synthesizeSensorSweep();
break;
+ }
case 'nx':
Math.random() > 0.5 ? this.synthesizeNXRelay() : this.synthesizeNXIndicatorBeep();
break;
case 'tng':
- default:
+ default: {
const r = Math.random();
- if (r < 0.45) this.synthesizeLCARSSingleChirp();
- else if (r < 0.75) this.synthesizeLCARSDoubleChirp();
- else if (r < 0.90) this.synthesizeLCARSSequence();
+ if (r < 0.10) this.synthesizeCommBadge();
+ else if (r < 0.45) this.synthesizeLCARSSingleChirp();
+ else if (r < 0.72) this.synthesizeLCARSDoubleChirp();
+ else if (r < 0.88) this.synthesizeLCARSSequence();
else this.synthesizeSensorSweep();
break;
+ }
}
// OBSERVATION intentionally treats telemetry as an abstract activity pulse,
@@ -821,6 +916,33 @@ class TelemetrySynth {
}));
}
+ /**
+ * Star Trek Comm Badge Confirmation Chirp
+ */
+ synthesizeCommBadge() {
+ if (window.expandedAudio) {
+ window.expandedAudio.synthesizeCommBadge();
+ return;
+ }
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+ const now = ctx.currentTime;
+ [784, 1396.91].forEach((freq, idx) => {
+ const t = now + idx * 0.038;
+ const osc = ctx.createOscillator();
+ osc.type = 'sine';
+ osc.frequency.setValueAtTime(freq, t);
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, t);
+ env.gain.linearRampToValueAtTime(0.35, t + 0.005);
+ env.gain.exponentialRampToValueAtTime(0.001, t + (idx === 0 ? 0.045 : 0.09));
+ osc.connect(env);
+ env.connect(this.gainNode);
+ osc.start(t);
+ osc.stop(t + (idx === 0 ? 0.05 : 0.095));
+ });
+ }
+
/**
* TNG/Voyager Single LCARS Touch Tone (Soft sine with gentle attack and rapid exponential decay)
*/
@@ -1743,6 +1865,105 @@ class WhoniverseAudioSynth {
osc.stop(now + duration + 0.05);
});
}
+
+ /**
+ * TARDIS Lever-Throw Clunk (Tactile mechanical switch)
+ * Hard square transient click coupled to a dull highpass noise thump
+ */
+ synthesizeLeverClunk() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+
+ // Hard square transient click
+ const clickOsc = ctx.createOscillator();
+ clickOsc.type = 'square';
+ clickOsc.frequency.setValueAtTime(80, now);
+ clickOsc.frequency.exponentialRampToValueAtTime(30, now + 0.035);
+
+ const clickEnv = ctx.createGain();
+ clickEnv.gain.setValueAtTime(0.42, now);
+ clickEnv.gain.exponentialRampToValueAtTime(0.001, now + 0.04);
+
+ clickOsc.connect(clickEnv);
+ clickEnv.connect(this.gainNode);
+ clickOsc.start(now);
+ clickOsc.stop(now + 0.042);
+
+ // Dull highpass noise thump
+ const noiseBuf = this.am.createNoiseBuffer('pink', 0.15);
+ const noise = ctx.createBufferSource();
+ noise.buffer = noiseBuf;
+
+ const filter = ctx.createBiquadFilter();
+ filter.type = 'highpass';
+ filter.frequency.setValueAtTime(320, now);
+
+ const noiseEnv = ctx.createGain();
+ noiseEnv.gain.setValueAtTime(0.3, now);
+ noiseEnv.gain.exponentialRampToValueAtTime(0.001, now + 0.06);
+
+ noise.connect(filter);
+ filter.connect(noiseEnv);
+ noiseEnv.connect(this.gainNode);
+ noise.start(now);
+ noise.stop(now + 0.065);
+ }
+
+ /**
+ * TARDIS Police Box Exterior Door Open / Close (Wood creak + mortise latch)
+ * Modulated bandpass friction noise layered over a sharp metallic dual-click transient
+ */
+ synthesizeTardisDoor() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const duration = 0.75;
+
+ // 1. Modulated bandpass friction noise (wood creak)
+ const creakBuf = this.am.createNoiseBuffer('brown', duration);
+ const creak = ctx.createBufferSource();
+ creak.buffer = creakBuf;
+
+ const creakFilter = ctx.createBiquadFilter();
+ creakFilter.type = 'bandpass';
+ creakFilter.frequency.setValueAtTime(260, now);
+ creakFilter.frequency.linearRampToValueAtTime(540, now + 0.35);
+ creakFilter.frequency.exponentialRampToValueAtTime(310, now + 0.65);
+ creakFilter.Q.setValueAtTime(6.0, now);
+
+ const creakEnv = ctx.createGain();
+ creakEnv.gain.setValueAtTime(0.001, now);
+ creakEnv.gain.linearRampToValueAtTime(0.38, now + 0.15);
+ creakEnv.gain.exponentialRampToValueAtTime(0.001, now + 0.68);
+
+ creak.connect(creakFilter);
+ creakFilter.connect(creakEnv);
+ creakEnv.connect(this.gainNode);
+ creak.start(now);
+ creak.stop(now + 0.7);
+
+ // 2. Iron mortise latch dual-click transient
+ [0.54, 0.62].forEach((offset, idx) => {
+ const click = ctx.createOscillator();
+ click.type = 'triangle';
+ click.frequency.setValueAtTime(idx === 0 ? 1100 : 750, now + offset);
+ click.frequency.exponentialRampToValueAtTime(180, now + offset + 0.03);
+
+ const cEnv = ctx.createGain();
+ cEnv.gain.setValueAtTime(0.28, now + offset);
+ cEnv.gain.exponentialRampToValueAtTime(0.001, now + offset + 0.035);
+
+ click.connect(cEnv);
+ cEnv.connect(this.gainNode);
+ click.start(now + offset);
+ click.stop(now + offset + 0.04);
+ });
+ }
}
window.WhoniverseAudioSynth = WhoniverseAudioSynth;
@@ -1758,6 +1979,8 @@ class ExpandedSciFiAudioSynth {
constructor(audioManager) {
this.am = audioManager;
this.gainNode = null;
+ this.medicalTimer = null;
+ this.sparkTimer = null;
}
init() {
@@ -2321,13 +2544,1265 @@ class ExpandedSciFiAudioSynth {
osc.start(now);
osc.stop(now + duration);
}
+
+ /**
+ * Star Trek Comm Badge Confirmation Chirp
+ * Iconic bright two-tone pulse in rapid sequence (784 Hz to 1397 Hz)
+ */
+ synthesizeCommBadge() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const tone1Freq = 784; // G5
+ const tone2Freq = 1396.91; // F6
+
+ // Pulse 1
+ const osc1 = ctx.createOscillator();
+ osc1.type = 'sine';
+ osc1.frequency.setValueAtTime(tone1Freq, now);
+
+ const env1 = ctx.createGain();
+ env1.gain.setValueAtTime(0.001, now);
+ env1.gain.linearRampToValueAtTime(0.38, now + 0.005);
+ env1.gain.exponentialRampToValueAtTime(0.001, now + 0.045);
+
+ osc1.connect(env1);
+ env1.connect(this.gainNode);
+ osc1.start(now);
+ osc1.stop(now + 0.048);
+
+ // Pulse 2
+ const t2 = now + 0.038;
+ const osc2 = ctx.createOscillator();
+ osc2.type = 'sine';
+ osc2.frequency.setValueAtTime(tone2Freq, t2);
+
+ const env2 = ctx.createGain();
+ env2.gain.setValueAtTime(0.001, t2);
+ env2.gain.linearRampToValueAtTime(0.42, t2 + 0.006);
+ env2.gain.exponentialRampToValueAtTime(0.001, t2 + 0.095);
+
+ osc2.connect(env2);
+ env2.connect(this.gainNode);
+ osc2.start(t2);
+ osc2.stop(t2 + 0.1);
+ }
+
+ /**
+ * Starfleet Pneumatic Door Swish (Four Era Variants)
+ * Bandpass-filtered white noise burst shaped per era
+ */
+ synthesizeDoorSwish(era = 'tng') {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ let centerFreq = 950;
+ let qVal = 1.8;
+ let duration = 0.45;
+ let noiseType = 'white';
+
+ switch (era) {
+ case 'tos':
+ centerFreq = 720;
+ qVal = 1.4;
+ duration = 0.38;
+ break;
+ case 'voyager':
+ centerFreq = 1250;
+ qVal = 2.4;
+ duration = 0.40;
+ break;
+ case 'nx':
+ centerFreq = 650;
+ qVal = 2.0;
+ duration = 0.55;
+ noiseType = 'pink';
+ break;
+ case 'tng':
+ default:
+ centerFreq = 950;
+ qVal = 1.8;
+ duration = 0.45;
+ break;
+ }
+
+ const noiseBuf = this.am.createNoiseBuffer(noiseType, duration + 0.1);
+ const noise = ctx.createBufferSource();
+ noise.buffer = noiseBuf;
+
+ const bp = ctx.createBiquadFilter();
+ bp.type = 'bandpass';
+ bp.frequency.setValueAtTime(centerFreq * 0.8, now);
+ bp.frequency.linearRampToValueAtTime(centerFreq * 1.15, now + duration * 0.4);
+ bp.frequency.exponentialRampToValueAtTime(centerFreq * 0.7, now + duration);
+ bp.Q.setValueAtTime(qVal, now);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, now);
+ env.gain.linearRampToValueAtTime(0.45, now + 0.03);
+ env.gain.exponentialRampToValueAtTime(0.001, now + duration);
+
+ noise.connect(bp);
+ bp.connect(env);
+ env.connect(this.gainNode);
+
+ noise.start(now);
+ noise.stop(now + duration + 0.02);
+ }
+
+ /**
+ * Starfleet Bosun's Pipe Whistle (TOS Command Announce)
+ * Two-tone sine glide (1800 Hz -> 2400 Hz -> 1850 Hz) with gentle tremolo
+ */
+ synthesizeBosunWhistle() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const duration = 0.85;
+
+ const osc = ctx.createOscillator();
+ osc.type = 'sine';
+ osc.frequency.setValueAtTime(1800, now);
+ osc.frequency.linearRampToValueAtTime(2400, now + 0.22);
+ osc.frequency.setValueAtTime(2400, now + 0.48);
+ osc.frequency.linearRampToValueAtTime(1850, now + 0.75);
+
+ const tremolo = ctx.createOscillator();
+ tremolo.type = 'sine';
+ tremolo.frequency.setValueAtTime(6.5, now);
+
+ const tremGain = ctx.createGain();
+ tremGain.gain.setValueAtTime(0.12, now);
+ tremolo.connect(tremGain);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, now);
+ env.gain.linearRampToValueAtTime(0.28, now + 0.05);
+ env.gain.setValueAtTime(0.28, now + 0.65);
+ env.gain.exponentialRampToValueAtTime(0.001, now + duration);
+
+ tremGain.connect(env.gain);
+
+ osc.connect(env);
+ env.connect(this.gainNode);
+
+ osc.start(now);
+ tremolo.start(now);
+ osc.stop(now + duration);
+ tremolo.stop(now + duration);
+ }
+
+ /**
+ * Starfleet Sickbay Medical Monitor ECG Ping
+ * Calm, periodic rhythmic vital signs pulse (1080 Hz sine, 40 ms decay)
+ */
+ synthesizeMedicalMonitor() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const duration = 0.045;
+
+ const osc = ctx.createOscillator();
+ osc.type = 'sine';
+ osc.frequency.setValueAtTime(1080, now);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, now);
+ env.gain.linearRampToValueAtTime(0.32, now + 0.003);
+ env.gain.exponentialRampToValueAtTime(0.0001, now + duration);
+
+ osc.connect(env);
+ env.connect(this.gainNode);
+
+ osc.start(now);
+ osc.stop(now + duration + 0.005);
+ }
+
+ /**
+ * Sevastopol Electrical Conduit Spark Transient
+ * High-voltage electrical discharge arcs across damaged station bulkheads
+ */
+ synthesizeSevastopolSpark() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const bursts = 2 + Math.floor(Math.random() * 2);
+
+ for (let i = 0; i < bursts; i++) {
+ const offset = i * (0.015 + Math.random() * 0.02);
+ const t = now + offset;
+ const dur = 0.008 + Math.random() * 0.008;
+
+ const noiseBuf = this.am.createNoiseBuffer('white', 0.05);
+ const noise = ctx.createBufferSource();
+ noise.buffer = noiseBuf;
+
+ const hp = ctx.createBiquadFilter();
+ hp.type = 'highpass';
+ hp.frequency.setValueAtTime(3600 + Math.random() * 800, t);
+ hp.Q.setValueAtTime(4.5, t);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.45, t);
+ env.gain.exponentialRampToValueAtTime(0.001, t + dur);
+
+ noise.connect(hp);
+ hp.connect(env);
+ env.connect(this.gainNode);
+
+ noise.start(t);
+ noise.stop(t + dur + 0.005);
+ }
+ }
+
+ /**
+ * Moonbase Alpha Commlock Calling Tone (Space: 1999)
+ * Dual square wave pulse sequence (1100 Hz / 1500 Hz)
+ */
+ synthesizeCommlockTone() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+
+ // Beep 1: 1100 Hz, 60 ms
+ const osc1 = ctx.createOscillator();
+ osc1.type = 'square';
+ osc1.frequency.setValueAtTime(1100, now);
+
+ const env1 = ctx.createGain();
+ env1.gain.setValueAtTime(0.001, now);
+ env1.gain.linearRampToValueAtTime(0.24, now + 0.004);
+ env1.gain.setValueAtTime(0.24, now + 0.055);
+ env1.gain.exponentialRampToValueAtTime(0.001, now + 0.062);
+
+ osc1.connect(env1);
+ env1.connect(this.gainNode);
+ osc1.start(now);
+ osc1.stop(now + 0.065);
+
+ // Beep 2: 1500 Hz, 75 ms starting at +0.082s
+ const t2 = now + 0.082;
+ const osc2 = ctx.createOscillator();
+ osc2.type = 'square';
+ osc2.frequency.setValueAtTime(1500, t2);
+
+ const env2 = ctx.createGain();
+ env2.gain.setValueAtTime(0.001, t2);
+ env2.gain.linearRampToValueAtTime(0.24, t2 + 0.004);
+ env2.gain.setValueAtTime(0.24, t2 + 0.07);
+ env2.gain.exponentialRampToValueAtTime(0.001, t2 + 0.078);
+
+ osc2.connect(env2);
+ env2.connect(this.gainNode);
+ osc2.start(t2);
+ osc2.stop(t2 + 0.082);
+ }
+
+ /**
+ * Gateway Station Medical Vital Telemetry Pip (Aliens)
+ * Clinical sterile 950 Hz pure sine pip (35 ms decay)
+ */
+ synthesizeStationMedicalPing() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const duration = 0.038;
+
+ const osc = ctx.createOscillator();
+ osc.type = 'sine';
+ osc.frequency.setValueAtTime(950, now);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, now);
+ env.gain.linearRampToValueAtTime(0.3, now + 0.003);
+ env.gain.exponentialRampToValueAtTime(0.0001, now + duration);
+
+ osc.connect(env);
+ env.connect(this.gainNode);
+
+ osc.start(now);
+ osc.stop(now + duration + 0.005);
+ }
+
+ /**
+ * Solar Radiation / Heat Shield Roar (Icarus II / Sunshine)
+ * Terrifying lowpass brown noise roar with amplitude swell and crackle impulses
+ */
+ synthesizeSolarRoar() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const duration = 3.6;
+
+ // Lowpass brown noise body
+ const noiseBuf = this.am.createNoiseBuffer('brown', duration + 0.2);
+ const noise = ctx.createBufferSource();
+ noise.buffer = noiseBuf;
+
+ const lp = ctx.createBiquadFilter();
+ lp.type = 'lowpass';
+ lp.frequency.setValueAtTime(120, now);
+ lp.frequency.linearRampToValueAtTime(180, now + 1.5);
+ lp.frequency.exponentialRampToValueAtTime(90, now + duration);
+ lp.Q.setValueAtTime(2.2, now);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, now);
+ env.gain.linearRampToValueAtTime(0.72, now + 1.4);
+ env.gain.setValueAtTime(0.70, now + 2.2);
+ env.gain.exponentialRampToValueAtTime(0.001, now + duration);
+
+ noise.connect(lp);
+ lp.connect(env);
+ env.connect(this.gainNode);
+
+ noise.start(now);
+ noise.stop(now + duration + 0.05);
+
+ // Highpass solar crackle layer
+ const crackleBuf = this.am.createNoiseBuffer('pink', duration);
+ const crackle = ctx.createBufferSource();
+ crackle.buffer = crackleBuf;
+
+ const hp = ctx.createBiquadFilter();
+ hp.type = 'highpass';
+ hp.frequency.setValueAtTime(3200, now);
+ hp.Q.setValueAtTime(4.0, now);
+
+ const crackleEnv = ctx.createGain();
+ crackleEnv.gain.setValueAtTime(0.001, now);
+ crackleEnv.gain.linearRampToValueAtTime(0.08, now + 1.2);
+ crackleEnv.gain.exponentialRampToValueAtTime(0.001, now + duration);
+
+ crackle.connect(hp);
+ hp.connect(crackleEnv);
+ crackleEnv.connect(this.gainNode);
+
+ crackle.start(now);
+ crackle.stop(now + duration);
+ }
+
+ /**
+ * Cryogenic Pod Depressurization Sigh (Avalon / Ark One)
+ * Gas pressure relief with exponential filter decay followed by 205 Hz seal hum
+ */
+ synthesizeCryoDepressurize() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const duration = 1.35;
+
+ // Pneumatic gas depressurization sigh
+ const noiseBuf = this.am.createNoiseBuffer('white', 1.4);
+ const noise = ctx.createBufferSource();
+ noise.buffer = noiseBuf;
+
+ const lp = ctx.createBiquadFilter();
+ lp.type = 'lowpass';
+ lp.frequency.setValueAtTime(1800, now);
+ lp.frequency.exponentialRampToValueAtTime(280, now + 1.1);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, now);
+ env.gain.linearRampToValueAtTime(0.38, now + 0.06);
+ env.gain.exponentialRampToValueAtTime(0.001, now + 1.15);
+
+ noise.connect(lp);
+ lp.connect(env);
+ env.connect(this.gainNode);
+
+ noise.start(now);
+ noise.stop(now + 1.2);
+
+ // Quiet motorized seal hum
+ const hum = ctx.createOscillator();
+ hum.type = 'sine';
+ hum.frequency.setValueAtTime(205, now + 0.35);
+
+ const humEnv = ctx.createGain();
+ humEnv.gain.setValueAtTime(0.001, now + 0.35);
+ humEnv.gain.linearRampToValueAtTime(0.18, now + 0.55);
+ humEnv.gain.exponentialRampToValueAtTime(0.001, now + duration);
+
+ hum.connect(humEnv);
+ humEnv.connect(this.gainNode);
+
+ hum.start(now + 0.35);
+ hum.stop(now + duration + 0.02);
+ }
+
+ /**
+ * Mid-Century Orion Nuclear Pulse Thump (USS Ascension)
+ * Heavy 45 Hz lowpass square impulse with sub-bass body resonance
+ */
+ synthesizeOrionPulseThump() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const duration = 0.22;
+
+ const osc = ctx.createOscillator();
+ osc.type = 'square';
+ osc.frequency.setValueAtTime(45, now);
+ osc.frequency.exponentialRampToValueAtTime(24, now + 0.09);
+
+ const lp = ctx.createBiquadFilter();
+ lp.type = 'lowpass';
+ lp.frequency.setValueAtTime(140, now);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.65, now);
+ env.gain.exponentialRampToValueAtTime(0.001, now + 0.085);
+
+ osc.connect(lp);
+ lp.connect(env);
+ env.connect(this.gainNode);
+
+ osc.start(now);
+ osc.stop(now + 0.09);
+
+ const sub = ctx.createOscillator();
+ sub.type = 'sine';
+ sub.frequency.setValueAtTime(36, now);
+
+ const subEnv = ctx.createGain();
+ subEnv.gain.setValueAtTime(0.001, now);
+ subEnv.gain.linearRampToValueAtTime(0.55, now + 0.01);
+ subEnv.gain.exponentialRampToValueAtTime(0.0001, now + duration);
+
+ sub.connect(subEnv);
+ subEnv.connect(this.gainNode);
+
+ sub.start(now);
+ sub.stop(now + duration);
+ }
+
+ /**
+ * Nutri-Matic Dedicated Tea Dispenser Gurgle (Heart of Gold)
+ * Bandpass bubbling noise hops (500–1000 Hz) terminating in a short steam hiss
+ */
+ synthesizeTeaDispenser() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+
+ // Bubbling hops
+ const bubbleFreqs = [520, 840, 610, 960, 480, 730];
+ bubbleFreqs.forEach((freq, i) => {
+ const t = now + i * 0.11;
+ const bDur = 0.09;
+
+ const noiseBuf = this.am.createNoiseBuffer('pink', 0.12);
+ const noise = ctx.createBufferSource();
+ noise.buffer = noiseBuf;
+
+ const bp = ctx.createBiquadFilter();
+ bp.type = 'bandpass';
+ bp.frequency.setValueAtTime(freq, t);
+ bp.Q.setValueAtTime(6.0, t);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, t);
+ env.gain.linearRampToValueAtTime(0.35, t + 0.015);
+ env.gain.exponentialRampToValueAtTime(0.001, t + bDur);
+
+ noise.connect(bp);
+ bp.connect(env);
+ env.connect(this.gainNode);
+
+ noise.start(t);
+ noise.stop(t + bDur + 0.01);
+ });
+
+ // Steam hiss
+ const steamTime = now + 0.65;
+ const steamBuf = this.am.createNoiseBuffer('white', 0.45);
+ const steam = ctx.createBufferSource();
+ steam.buffer = steamBuf;
+
+ const steamFilter = ctx.createBiquadFilter();
+ steamFilter.type = 'bandpass';
+ steamFilter.frequency.setValueAtTime(2400, steamTime);
+ steamFilter.Q.setValueAtTime(3.0, steamTime);
+
+ const steamEnv = ctx.createGain();
+ steamEnv.gain.setValueAtTime(0.001, steamTime);
+ steamEnv.gain.linearRampToValueAtTime(0.28, steamTime + 0.04);
+ steamEnv.gain.exponentialRampToValueAtTime(0.001, steamTime + 0.42);
+
+ steam.connect(steamFilter);
+ steamFilter.connect(steamEnv);
+ steamEnv.connect(this.gainNode);
+
+ steam.start(steamTime);
+ steam.stop(steamTime + 0.45);
+ }
+
+ /**
+ * British Electric Kettle Steam Whistle (HMS Camden Lock / Hyperdrive)
+ * Narrow bandpass sine sweeping 1820 Hz to 2380 Hz with steady tremolo
+ */
+ synthesizeKettleWhistle() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const duration = 1.6;
+
+ const osc = ctx.createOscillator();
+ osc.type = 'sine';
+ osc.frequency.setValueAtTime(1820, now);
+ osc.frequency.exponentialRampToValueAtTime(2380, now + duration * 0.7);
+ osc.frequency.linearRampToValueAtTime(2320, now + duration);
+
+ const tremolo = ctx.createOscillator();
+ tremolo.type = 'sine';
+ tremolo.frequency.setValueAtTime(5.2, now);
+
+ const tremGain = ctx.createGain();
+ tremGain.gain.setValueAtTime(0.15, now);
+ tremolo.connect(tremGain);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, now);
+ env.gain.linearRampToValueAtTime(0.26, now + 0.25);
+ env.gain.setValueAtTime(0.26, now + 1.2);
+ env.gain.exponentialRampToValueAtTime(0.001, now + duration);
+
+ tremGain.connect(env.gain);
+
+ osc.connect(env);
+ env.connect(this.gainNode);
+
+ osc.start(now);
+ tremolo.start(now);
+ osc.stop(now + duration);
+ tremolo.stop(now + duration);
+ }
+
+ /**
+ * Ludicrous Speed Plaid Alarm (Spaceball One)
+ * Two-tone alternating square wave siren (440 Hz / 880 Hz)
+ */
+ synthesizePlaidAlarm() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const steps = 6;
+ const stepDur = 0.12;
+
+ for (let i = 0; i < steps; i++) {
+ const t = now + i * stepDur;
+ const freq = (i % 2 === 0) ? 440 : 880;
+
+ const osc = ctx.createOscillator();
+ osc.type = 'square';
+ osc.frequency.setValueAtTime(freq, t);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, t);
+ env.gain.linearRampToValueAtTime(0.28, t + 0.006);
+ env.gain.setValueAtTime(0.28, t + stepDur - 0.01);
+ env.gain.exponentialRampToValueAtTime(0.001, t + stepDur);
+
+ osc.connect(env);
+ env.connect(this.gainNode);
+
+ osc.start(t);
+ osc.stop(t + stepDur + 0.005);
+ }
+ }
+
+ /**
+ * Dedicated Cassette Transport Clunk & Whirr (Milano / Bebop)
+ * Dual square transient click (120 Hz / 360 Hz) followed by 2200 Hz capstan tone with flutter
+ */
+ synthesizeCassetteTransport() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+
+ // Dual square mechanical button clunk
+ [120, 360].forEach((freq) => {
+ const osc = ctx.createOscillator();
+ osc.type = 'square';
+ osc.frequency.setValueAtTime(freq, now);
+ osc.frequency.exponentialRampToValueAtTime(40, now + 0.028);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.35, now);
+ env.gain.exponentialRampToValueAtTime(0.001, now + 0.03);
+
+ osc.connect(env);
+ env.connect(this.gainNode);
+
+ osc.start(now);
+ osc.stop(now + 0.032);
+ });
+
+ // 12V capstan motor tone + tape flutter
+ const motorTime = now + 0.04;
+ const motorDur = 0.95;
+
+ const motor = ctx.createOscillator();
+ motor.type = 'sine';
+ motor.frequency.setValueAtTime(2200, motorTime);
+
+ const flutter = ctx.createOscillator();
+ flutter.type = 'sine';
+ flutter.frequency.setValueAtTime(8.2, motorTime);
+
+ const flutGain = ctx.createGain();
+ flutGain.gain.setValueAtTime(35, motorTime);
+ flutter.connect(flutGain);
+ flutGain.connect(motor.frequency);
+
+ const motorEnv = ctx.createGain();
+ motorEnv.gain.setValueAtTime(0.001, motorTime);
+ motorEnv.gain.linearRampToValueAtTime(0.12, motorTime + 0.08);
+ motorEnv.gain.exponentialRampToValueAtTime(0.001, motorTime + motorDur);
+
+ motor.connect(motorEnv);
+ motorEnv.connect(this.gainNode);
+
+ motor.start(motorTime);
+ flutter.start(motorTime);
+ motor.stop(motorTime + motorDur);
+ flutter.stop(motorTime + motorDur);
+
+ // Tape noise bed
+ const tapeBuf = this.am.createNoiseBuffer('pink', motorDur);
+ const tape = ctx.createBufferSource();
+ tape.buffer = tapeBuf;
+
+ const tapeFilter = ctx.createBiquadFilter();
+ tapeFilter.type = 'bandpass';
+ tapeFilter.frequency.setValueAtTime(3200, motorTime);
+ tapeFilter.Q.setValueAtTime(2.0, motorTime);
+
+ const tapeEnv = ctx.createGain();
+ tapeEnv.gain.setValueAtTime(0.001, motorTime);
+ tapeEnv.gain.linearRampToValueAtTime(0.08, motorTime + 0.05);
+ tapeEnv.gain.exponentialRampToValueAtTime(0.001, motorTime + motorDur);
+
+ tape.connect(tapeFilter);
+ tapeFilter.connect(tapeEnv);
+ tapeEnv.connect(this.gainNode);
+
+ tape.start(motorTime);
+ tape.stop(motorTime + motorDur);
+ }
+
+ /**
+ * Grappler Arm Servo Motor Whine (Outlaw Star / Bebop)
+ * Swept triangle wave (220 Hz -> 680 Hz) through resonant bandpass filter
+ */
+ synthesizeGrapplerServo() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const duration = 0.44;
+
+ const osc = ctx.createOscillator();
+ osc.type = 'triangle';
+ osc.frequency.setValueAtTime(220, now);
+ osc.frequency.exponentialRampToValueAtTime(680, now + duration * 0.7);
+ osc.frequency.linearRampToValueAtTime(540, now + duration);
+
+ const bp = ctx.createBiquadFilter();
+ bp.type = 'bandpass';
+ bp.frequency.setValueAtTime(320, now);
+ bp.frequency.exponentialRampToValueAtTime(820, now + duration * 0.7);
+ bp.Q.setValueAtTime(3.2, now);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.001, now);
+ env.gain.linearRampToValueAtTime(0.38, now + 0.04);
+ env.gain.exponentialRampToValueAtTime(0.001, now + duration);
+
+ osc.connect(bp);
+ bp.connect(env);
+ env.connect(this.gainNode);
+
+ osc.start(now);
+ osc.stop(now + duration + 0.01);
+ }
+
+ /**
+ * True RF Radio Static Burst (The Betty / The Marauder)
+ * Bandpass-filtered pink/white noise burst (300–3200 Hz) with hard-knee square gate
+ */
+ synthesizeRadioStatic() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+ const duration = 0.18;
+
+ const noiseBuf = this.am.createNoiseBuffer('pink', 0.25);
+ const noise = ctx.createBufferSource();
+ noise.buffer = noiseBuf;
+
+ const bp = ctx.createBiquadFilter();
+ bp.type = 'bandpass';
+ bp.frequency.setValueAtTime(1400, now);
+ bp.Q.setValueAtTime(1.1, now);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.42, now);
+ env.gain.setValueAtTime(0.40, now + duration - 0.02);
+ env.gain.exponentialRampToValueAtTime(0.001, now + duration);
+
+ noise.connect(bp);
+ bp.connect(env);
+ env.connect(this.gainNode);
+
+ noise.start(now);
+ noise.stop(now + duration + 0.01);
+ }
+
+ /**
+ * Magnetic Boot ("Mag-Boot") Latch (Ceres / Tycho / The Expanse)
+ * Low-frequency impact thump (80 Hz click) followed by 120 Hz inductive clamp buzz
+ */
+ synthesizeMagBootLatch() {
+ this.init();
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return;
+
+ const now = ctx.currentTime;
+
+ // Stage 1: Impact thump
+ const thump = ctx.createOscillator();
+ thump.type = 'triangle';
+ thump.frequency.setValueAtTime(80, now);
+ thump.frequency.exponentialRampToValueAtTime(32, now + 0.03);
+
+ const thumpEnv = ctx.createGain();
+ thumpEnv.gain.setValueAtTime(0.5, now);
+ thumpEnv.gain.exponentialRampToValueAtTime(0.001, now + 0.035);
+
+ thump.connect(thumpEnv);
+ thumpEnv.connect(this.gainNode);
+ thump.start(now);
+ thump.stop(now + 0.038);
+
+ // Stage 2: 120 Hz inductive clamping buzz
+ const buzzTime = now + 0.025;
+ const buzz = ctx.createOscillator();
+ buzz.type = 'square';
+ buzz.frequency.setValueAtTime(120, buzzTime);
+
+ const buzzFilter = ctx.createBiquadFilter();
+ buzzFilter.type = 'lowpass';
+ buzzFilter.frequency.setValueAtTime(420, buzzTime);
+
+ const buzzEnv = ctx.createGain();
+ buzzEnv.gain.setValueAtTime(0.001, buzzTime);
+ buzzEnv.gain.linearRampToValueAtTime(0.32, buzzTime + 0.01);
+ buzzEnv.gain.exponentialRampToValueAtTime(0.001, buzzTime + 0.16);
+
+ buzz.connect(buzzFilter);
+ buzzFilter.connect(buzzEnv);
+ buzzEnv.connect(this.gainNode);
+
+ buzz.start(buzzTime);
+ buzz.stop(buzzTime + 0.17);
+ }
+
+ /**
+ * Background Loop: Periodic Medical Vital Signs Monitor (ECG)
+ */
+ startMedicalMonitor(intervalSeconds = 1.1) {
+ this.stopMedicalMonitor();
+ const tick = () => {
+ this.synthesizeMedicalMonitor();
+ this.medicalTimer = setTimeout(tick, intervalSeconds * 1000);
+ };
+ tick();
+ }
+
+ stopMedicalMonitor() {
+ if (this.medicalTimer) {
+ clearTimeout(this.medicalTimer);
+ this.medicalTimer = null;
+ }
+ }
+
+ /**
+ * Background Loop: Random Electrical Sparks on Damaged Stations
+ */
+ startStationSparks(minIntervalMs = 4000, maxIntervalMs = 12000) {
+ this.stopStationSparks();
+ const scheduleNext = () => {
+ const delay = minIntervalMs + Math.random() * (maxIntervalMs - minIntervalMs);
+ this.sparkTimer = setTimeout(() => {
+ this.synthesizeSevastopolSpark();
+ scheduleNext();
+ }, delay);
+ };
+ scheduleNext();
+ }
+
+ stopStationSparks() {
+ if (this.sparkTimer) {
+ clearTimeout(this.sparkTimer);
+ this.sparkTimer = null;
+ }
+ }
+
+ stopAllLoops() {
+ this.stopMedicalMonitor();
+ this.stopStationSparks();
+ }
}
window.ExpandedSciFiAudioSynth = ExpandedSciFiAudioSynth;
/**
- * Canonical Starship & Location Sound Profiles Matrix
- * Each preset defines the exact parameters for Hull Drone, Warp Core, Life Support, and Telemetry.
+ * Layered & Staged Engine Startup and Shutdown Synthesizer
+ * Synthesizes chronological multi-phase acoustic scripts for 15 distinct starship archetypes.
*/
+class EngineTransitionSynth {
+ constructor(audioManager) {
+ this.am = audioManager;
+ this.gainNode = null;
+ this.activeNodes = [];
+ this.activeTimeouts = [];
+ }
+
+ init() {
+ if (!this.am.ctx) return;
+ if (!this.gainNode) {
+ this.gainNode = this.am.ctx.createGain();
+ this.gainNode.gain.setValueAtTime(0.85, this.am.ctx.currentTime);
+ this.gainNode.connect(this.am.compressor);
+ }
+ }
+
+ stopTransitions() {
+ this.activeTimeouts.forEach(t => clearTimeout(t));
+ this.activeTimeouts = [];
+ this.activeNodes.forEach(node => {
+ try { if (node.stop) node.stop(); } catch (e) {}
+ try { node.disconnect(); } catch (e) {}
+ });
+ this.activeNodes = [];
+ }
+
+ _tone({ type = 'sine', startFreq, endFreq, startTime, duration, startVol = 0.001, peakVol = 0.4, endVol = 0.0001, filterType = null, filterFreq = 1000, filterQ = 1.0 }) {
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return null;
+ const osc = ctx.createOscillator();
+ osc.type = type;
+ osc.frequency.setValueAtTime(Math.max(10, startFreq), startTime);
+ if (endFreq && endFreq !== startFreq) {
+ osc.frequency.exponentialRampToValueAtTime(Math.max(10, endFreq), startTime + duration);
+ }
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(Math.max(0.0001, startVol), startTime);
+ const attack = Math.min(0.08, duration * 0.25);
+ env.gain.linearRampToValueAtTime(peakVol, startTime + attack);
+ env.gain.exponentialRampToValueAtTime(Math.max(0.0001, endVol), startTime + duration);
+
+ let lastNode = osc;
+ if (filterType) {
+ const filter = ctx.createBiquadFilter();
+ filter.type = filterType;
+ filter.frequency.setValueAtTime(filterFreq, startTime);
+ filter.Q.setValueAtTime(filterQ, startTime);
+ lastNode.connect(filter);
+ lastNode = filter;
+ this.activeNodes.push(filter);
+ }
+
+ lastNode.connect(env);
+ env.connect(this.gainNode);
+
+ osc.start(startTime);
+ osc.stop(startTime + duration);
+
+ this.activeNodes.push(osc, env);
+ return osc;
+ }
+
+ _noise({ noiseType = 'pink', filterType = 'bandpass', startFreq = 800, endFreq = 800, Q = 1.5, startTime, duration, peakVol = 0.35 }) {
+ const ctx = this.am.ctx;
+ if (!ctx || !this.gainNode) return null;
+ const buf = this.am.createNoiseBuffer(noiseType, Math.max(3, Math.ceil(duration + 1)));
+ const src = ctx.createBufferSource();
+ src.buffer = buf;
+
+ const filter = ctx.createBiquadFilter();
+ filter.type = filterType;
+ filter.frequency.setValueAtTime(Math.max(20, startFreq), startTime);
+ if (endFreq && endFreq !== startFreq) {
+ filter.frequency.exponentialRampToValueAtTime(Math.max(20, endFreq), startTime + duration);
+ }
+ filter.Q.setValueAtTime(Q, startTime);
+
+ const env = ctx.createGain();
+ env.gain.setValueAtTime(0.0001, startTime);
+ const attack = Math.min(0.12, duration * 0.3);
+ env.gain.linearRampToValueAtTime(peakVol, startTime + attack);
+ env.gain.exponentialRampToValueAtTime(0.0001, startTime + duration);
+
+ src.connect(filter);
+ filter.connect(env);
+ env.connect(this.gainNode);
+
+ src.start(startTime);
+ src.stop(startTime + duration);
+
+ this.activeNodes.push(src, filter, env);
+ return src;
+ }
+
+ _click(startTime, freq = 140, duration = 0.035, vol = 0.4, type = 'square') {
+ return this._tone({ type, startFreq: freq, endFreq: 25, startTime, duration, peakVol: vol, endVol: 0.0001 });
+ }
+
+ _sub(startTime, startFreq = 70, endFreq = 30, duration = 0.8, vol = 0.6) {
+ return this._tone({ type: 'sine', startFreq, endFreq, startTime, duration, peakVol: vol, endVol: 0.0001 });
+ }
+
+ _chime(startTime, pitches = [880, 1174, 1567], step = 0.05, duration = 0.35, vol = 0.25) {
+ pitches.forEach((freq, idx) => {
+ const t = startTime + idx * step;
+ this._tone({ type: 'sine', startFreq: freq, endFreq: freq * 1.01, startTime: t, duration, peakVol: vol, endVol: 0.0001 });
+ });
+ }
+
+ playStartup(profileKey = 'galaxy', duration = 2.5) {
+ this.init();
+ if (!this.am.ctx) return;
+ this.stopTransitions();
+ const now = this.am.ctx.currentTime;
+ const s = duration / 2.5;
+
+ switch (profileKey) {
+ case 'intrepid': this._startupIntrepid(now, s); break;
+ case 'defiant': this._startupDefiant(now, s); break;
+ case 'cardassian': this._startupCardassian(now, s); break;
+ case 'tos': this._startupTOS(now, s); break;
+ case 'nx': this._startupNX(now, s); break;
+ case 'tardis': this._startupTardis(now, s); break;
+ case 'industrial': this._startupIndustrial(now, s); break;
+ case 'bioship': this._startupBioship(now, s); break;
+ case 'retrofuture': this._startupRetrofuture(now, s); break;
+ case 'military': this._startupMilitary(now, s); break;
+ case 'deepspace': this._startupDeepSpace(now, s); break;
+ case 'outlaw': this._startupOutlaw(now, s); break;
+ case 'station': this._startupStation(now, s); break;
+ case 'comedy': this._startupComedy(now, s); break;
+ case 'galaxy':
+ default:
+ this._startupGalaxy(now, s);
+ break;
+ }
+ }
+
+ playShutdown(profileKey = 'galaxy', duration = 2.5) {
+ this.init();
+ if (!this.am.ctx) return;
+ this.stopTransitions();
+ const now = this.am.ctx.currentTime;
+ const s = duration / 2.5;
+
+ switch (profileKey) {
+ case 'intrepid': this._shutdownIntrepid(now, s); break;
+ case 'defiant': this._shutdownDefiant(now, s); break;
+ case 'cardassian': this._shutdownCardassian(now, s); break;
+ case 'tos': this._shutdownTOS(now, s); break;
+ case 'nx': this._shutdownNX(now, s); break;
+ case 'tardis': this._shutdownTardis(now, s); break;
+ case 'industrial': this._shutdownIndustrial(now, s); break;
+ case 'bioship': this._shutdownBioship(now, s); break;
+ case 'retrofuture': this._shutdownRetrofuture(now, s); break;
+ case 'military': this._shutdownMilitary(now, s); break;
+ case 'deepspace': this._shutdownDeepSpace(now, s); break;
+ case 'outlaw': this._shutdownOutlaw(now, s); break;
+ case 'station': this._shutdownStation(now, s); break;
+ case 'comedy': this._shutdownComedy(now, s); break;
+ case 'galaxy':
+ default:
+ this._shutdownGalaxy(now, s);
+ break;
+ }
+ }
+
+ // 1. TNG GALAXY CLASS
+ _startupGalaxy(now, s) {
+ this._click(now, 150, 0.04, 0.45);
+ this._click(now + 0.14 * s, 110, 0.03, 0.35);
+ this._tone({ type: 'sine', startFreq: 60, endFreq: 140, startTime: now + 0.05 * s, duration: 0.65 * s, peakVol: 0.35 });
+ this._tone({ type: 'sawtooth', startFreq: 120, endFreq: 480, startTime: now + 0.7 * s, duration: 1.1 * s, peakVol: 0.28, filterType: 'lowpass', filterFreq: 750, filterQ: 3.5 });
+ this._sub(now + 0.85 * s, 65, 80, 0.95 * s, 0.55);
+ this._noise({ noiseType: 'pink', filterType: 'lowpass', startFreq: 200, endFreq: 600, startTime: now + 0.9 * s, duration: 0.9 * s, peakVol: 0.25 });
+ this._chime(now + 1.8 * s, [784, 1046, 1318], 0.06 * s, 0.5 * s, 0.3);
+ this._sub(now + 1.8 * s, 80, 58, 0.65 * s, 0.45);
+ }
+ _shutdownGalaxy(now, s) {
+ this._click(now, 160, 0.05, 0.5);
+ this._sub(now, 85, 40, 0.65 * s, 0.6);
+ this._tone({ type: 'sawtooth', startFreq: 460, endFreq: 75, startTime: now + 0.6 * s, duration: 1.2 * s, peakVol: 0.25, filterType: 'lowpass', filterFreq: 600, filterQ: 2.0 });
+ this._noise({ noiseType: 'pink', filterType: 'bandpass', startFreq: 650, endFreq: 180, startTime: now + 0.75 * s, duration: 1.0 * s, peakVol: 0.28 });
+ this._tone({ type: 'sine', startFreq: 75, endFreq: 24, startTime: now + 1.7 * s, duration: 0.75 * s, peakVol: 0.35 });
+ }
+
+ // 2. VOYAGER INTREPID CLASS
+ _startupIntrepid(now, s) {
+ this._click(now, 450, 0.025, 0.35);
+ this._click(now + 0.08 * s, 680, 0.025, 0.35);
+ this._tone({ type: 'triangle', startFreq: 240, endFreq: 580, startTime: now + 0.1 * s, duration: 0.6 * s, peakVol: 0.3 });
+ this._tone({ type: 'sawtooth', startFreq: 320, endFreq: 1650, startTime: now + 0.7 * s, duration: 1.1 * s, peakVol: 0.35, filterType: 'bandpass', filterFreq: 1400, filterQ: 4.5 });
+ this._sub(now + 0.8 * s, 70, 95, 0.9 * s, 0.45);
+ this._noise({ noiseType: 'white', filterType: 'bandpass', startFreq: 1200, endFreq: 2400, startTime: now + 0.85 * s, duration: 0.9 * s, peakVol: 0.22 });
+ this._chime(now + 1.8 * s, [1174, 1567, 2093], 0.05 * s, 0.45 * s, 0.28);
+ this._tone({ type: 'sine', startFreq: 95, endFreq: 70, startTime: now + 1.85 * s, duration: 0.65 * s, peakVol: 0.4 });
+ }
+ _shutdownIntrepid(now, s) {
+ this._click(now, 520, 0.03, 0.4);
+ this._sub(now, 95, 50, 0.5 * s, 0.5);
+ this._tone({ type: 'sawtooth', startFreq: 1600, endFreq: 140, startTime: now + 0.5 * s, duration: 1.2 * s, peakVol: 0.28, filterType: 'lowpass', filterFreq: 1200 });
+ this._noise({ noiseType: 'white', filterType: 'highpass', startFreq: 1400, endFreq: 400, startTime: now + 0.6 * s, duration: 0.8 * s, peakVol: 0.25 });
+ this._tone({ type: 'sine', startFreq: 140, endFreq: 30, startTime: now + 1.7 * s, duration: 0.8 * s, peakVol: 0.25 });
+ }
+
+ // 3. DEFIANT ESCORT
+ _startupDefiant(now, s) {
+ this._click(now, 90, 0.06, 0.6, 'square');
+ this._tone({ type: 'sawtooth', startFreq: 50, endFreq: 120, startTime: now + 0.05 * s, duration: 0.6 * s, peakVol: 0.4, filterType: 'lowpass', filterFreq: 300 });
+ this._sub(now + 0.65 * s, 35, 95, 1.1 * s, 0.7);
+ this._tone({ type: 'sawtooth', startFreq: 180, endFreq: 740, startTime: now + 0.7 * s, duration: 1.1 * s, peakVol: 0.32, filterType: 'bandpass', filterFreq: 550, filterQ: 3.0 });
+ this._chime(now + 1.8 * s, [660, 880], 0.08 * s, 0.4 * s, 0.35);
+ this._sub(now + 1.8 * s, 95, 68, 0.7 * s, 0.5);
+ }
+ _shutdownDefiant(now, s) {
+ this._click(now, 110, 0.05, 0.6);
+ this._sub(now, 90, 35, 0.6 * s, 0.65);
+ this._tone({ type: 'sawtooth', startFreq: 720, endFreq: 60, startTime: now + 0.6 * s, duration: 1.2 * s, peakVol: 0.3, filterType: 'lowpass', filterFreq: 450 });
+ this._noise({ noiseType: 'pink', filterType: 'lowpass', startFreq: 500, endFreq: 120, startTime: now + 0.7 * s, duration: 1.0 * s, peakVol: 0.3 });
+ this._tone({ type: 'sine', startFreq: 60, endFreq: 22, startTime: now + 1.7 * s, duration: 0.8 * s, peakVol: 0.35 });
+ }
+
+ // 4. CARDASSIAN / DS9
+ _startupCardassian(now, s) {
+ this._click(now, 85, 0.08, 0.55);
+ this._tone({ type: 'triangle', startFreq: 165, endFreq: 110, startTime: now, duration: 0.7 * s, peakVol: 0.4 });
+ this._sub(now + 0.7 * s, 32, 68, 1.1 * s, 0.65);
+ this._tone({ type: 'sawtooth', startFreq: 80, endFreq: 260, startTime: now + 0.7 * s, duration: 1.1 * s, peakVol: 0.3, filterType: 'lowpass', filterFreq: 320 });
+ this._noise({ noiseType: 'brown', filterType: 'lowpass', startFreq: 180, endFreq: 350, startTime: now + 0.8 * s, duration: 1.0 * s, peakVol: 0.3 });
+ this._chime(now + 1.8 * s, [330, 440], 0.1 * s, 0.5 * s, 0.35);
+ }
+ _shutdownCardassian(now, s) {
+ this._click(now, 95, 0.06, 0.5);
+ this._sub(now, 68, 30, 0.6 * s, 0.6);
+ this._tone({ type: 'sawtooth', startFreq: 250, endFreq: 40, startTime: now + 0.6 * s, duration: 1.2 * s, peakVol: 0.25, filterType: 'lowpass', filterFreq: 220 });
+ this._noise({ noiseType: 'brown', filterType: 'bandpass', startFreq: 240, endFreq: 80, startTime: now + 0.7 * s, duration: 1.1 * s, peakVol: 0.25 });
+ this._tone({ type: 'sine', startFreq: 40, endFreq: 20, startTime: now + 1.7 * s, duration: 0.8 * s, peakVol: 0.3 });
+ }
+
+ // 5. TOS 1960s
+ _startupTOS(now, s) {
+ this._click(now, 220, 0.03, 0.45);
+ this._tone({ type: 'sine', startFreq: 80, endFreq: 180, startTime: now + 0.04 * s, duration: 0.6 * s, peakVol: 0.35 });
+ this._tone({ type: 'sine', startFreq: 220, endFreq: 980, startTime: now + 0.65 * s, duration: 1.15 * s, peakVol: 0.32 });
+ this._tone({ type: 'triangle', startFreq: 225, endFreq: 990, startTime: now + 0.65 * s, duration: 1.15 * s, peakVol: 0.2 });
+ this._chime(now + 1.8 * s, [880, 1108], 0.08 * s, 0.35 * s, 0.3);
+ }
+ _shutdownTOS(now, s) {
+ this._click(now, 260, 0.035, 0.45);
+ this._tone({ type: 'sine', startFreq: 950, endFreq: 90, startTime: now + 0.5 * s, duration: 1.2 * s, peakVol: 0.3 });
+ this._tone({ type: 'sine', startFreq: 2400, endFreq: 400, startTime: now + 0.6 * s, duration: 0.8 * s, peakVol: 0.15 });
+ this._tone({ type: 'sine', startFreq: 90, endFreq: 25, startTime: now + 1.7 * s, duration: 0.8 * s, peakVol: 0.25 });
+ }
+
+ // 6. NX-01 PROTOTYPE
+ _startupNX(now, s) {
+ [0, 0.12, 0.24, 0.36, 0.48].forEach(dt => this._click(now + dt * s, 110, 0.04, 0.45));
+ this._tone({ type: 'sawtooth', startFreq: 95, endFreq: 420, startTime: now + 0.6 * s, duration: 1.2 * s, peakVol: 0.32, filterType: 'lowpass', filterFreq: 600 });
+ this._sub(now + 0.8 * s, 45, 75, 1.0 * s, 0.6);
+ this._noise({ noiseType: 'brown', filterType: 'lowpass', startFreq: 220, endFreq: 480, startTime: now + 0.85 * s, duration: 0.95 * s, peakVol: 0.3 });
+ this._click(now + 1.8 * s, 180, 0.03, 0.4);
+ }
+ _shutdownNX(now, s) {
+ this._click(now, 95, 0.06, 0.55);
+ this._sub(now, 75, 35, 0.6 * s, 0.6);
+ [0.6, 0.85, 1.15, 1.5].forEach(dt => this._click(now + dt * s, 85, 0.04, 0.35));
+ this._noise({ noiseType: 'pink', filterType: 'highpass', startFreq: 900, endFreq: 300, startTime: now + 0.7 * s, duration: 1.0 * s, peakVol: 0.25 });
+ this._tone({ type: 'sine', startFreq: 40, endFreq: 18, startTime: now + 1.7 * s, duration: 0.8 * s, peakVol: 0.3 });
+ }
+
+ // 7. TARDIS DIMENSIONAL
+ _startupTardis(now, s) {
+ this._click(now, 80, 0.06, 0.55);
+ this._tone({ type: 'sawtooth', startFreq: 140, endFreq: 680, startTime: now + 0.5 * s, duration: 1.3 * s, peakVol: 0.32, filterType: 'bandpass', filterFreq: 550, filterQ: 3.0 });
+ this._tone({ type: 'sine', startFreq: 70, endFreq: 220, startTime: now + 0.6 * s, duration: 1.2 * s, peakVol: 0.35 });
+ this._chime(now + 1.8 * s, [1046, 1318, 1567], 0.06 * s, 0.45 * s, 0.3);
+ }
+ _shutdownTardis(now, s) {
+ this._click(now, 90, 0.05, 0.5);
+ this._tone({ type: 'sawtooth', startFreq: 620, endFreq: 75, startTime: now + 0.5 * s, duration: 1.3 * s, peakVol: 0.28, filterType: 'bandpass', filterFreq: 350, filterQ: 2.0 });
+ this._chime(now + 0.8 * s, [440], 0.1, 0.7 * s, 0.3);
+ this._noise({ noiseType: 'pink', filterType: 'lowpass', startFreq: 350, endFreq: 80, startTime: now + 1.6 * s, duration: 0.9 * s, peakVol: 0.2 });
+ }
+
+ // 8. INDUSTRIAL FREIGHTER
+ _startupIndustrial(now, s) {
+ this._click(now, 75, 0.08, 0.6);
+ this._noise({ noiseType: 'white', filterType: 'highpass', startFreq: 1800, endFreq: 800, startTime: now + 0.05 * s, duration: 0.4 * s, peakVol: 0.35 });
+ this._tone({ type: 'sawtooth', startFreq: 55, endFreq: 290, startTime: now + 0.6 * s, duration: 1.2 * s, peakVol: 0.35, filterType: 'lowpass', filterFreq: 400 });
+ this._sub(now + 0.7 * s, 35, 65, 1.1 * s, 0.7);
+ this._noise({ noiseType: 'brown', filterType: 'bandpass', startFreq: 400, endFreq: 900, startTime: now + 0.8 * s, duration: 1.0 * s, peakVol: 0.3 });
+ this._sub(now + 1.8 * s, 65, 40, 0.7 * s, 0.6);
+ }
+ _shutdownIndustrial(now, s) {
+ this._click(now, 85, 0.07, 0.65);
+ this._sub(now, 65, 28, 0.6 * s, 0.6);
+ this._noise({ noiseType: 'white', filterType: 'lowpass', startFreq: 2400, endFreq: 400, startTime: now + 0.5 * s, duration: 1.3 * s, peakVol: 0.38 });
+ this._tone({ type: 'sawtooth', startFreq: 280, endFreq: 40, startTime: now + 0.6 * s, duration: 1.2 * s, peakVol: 0.25, filterType: 'lowpass', filterFreq: 300 });
+ [1.7, 1.95, 2.2].forEach(dt => this._click(now + dt * s, 320, 0.02, 0.25));
+ }
+
+ // 9. BIOSHIP
+ _startupBioship(now, s) {
+ this._chime(now, [784, 1174, 1567], 0.04 * s, 0.3 * s, 0.25);
+ this._sub(now + 0.6 * s, 42, 28, 0.4 * s, 0.65);
+ this._sub(now + 0.95 * s, 44, 28, 0.4 * s, 0.7);
+ this._tone({ type: 'sine', startFreq: 260, endFreq: 540, startTime: now + 0.7 * s, duration: 1.1 * s, peakVol: 0.32 });
+ this._noise({ noiseType: 'pink', filterType: 'bandpass', startFreq: 250, endFreq: 600, startTime: now + 1.7 * s, duration: 0.8 * s, peakVol: 0.3 });
+ }
+ _shutdownBioship(now, s) {
+ this._noise({ noiseType: 'pink', filterType: 'bandpass', startFreq: 550, endFreq: 180, startTime: now, duration: 1.1 * s, peakVol: 0.35 });
+ this._sub(now + 0.5 * s, 38, 25, 0.4 * s, 0.55);
+ this._sub(now + 1.1 * s, 34, 22, 0.4 * s, 0.45);
+ this._tone({ type: 'sine', startFreq: 480, endFreq: 180, startTime: now + 0.6 * s, duration: 1.1 * s, peakVol: 0.22 });
+ this._tone({ type: 'sine', startFreq: 35, endFreq: 18, startTime: now + 1.7 * s, duration: 0.8 * s, peakVol: 0.25 });
+ }
+
+ // 10. RETROFUTURE
+ _startupRetrofuture(now, s) {
+ [0, 0.07, 0.14, 0.21].forEach(dt => this._click(now + dt * s, 380, 0.02, 0.3));
+ this._tone({ type: 'triangle', startFreq: 95, endFreq: 580, startTime: now + 0.5 * s, duration: 1.3 * s, peakVol: 0.35, filterType: 'lowpass', filterFreq: 650 });
+ this._tone({ type: 'sine', startFreq: 100, endFreq: 590, startTime: now + 0.5 * s, duration: 1.3 * s, peakVol: 0.25 });
+ this._chime(now + 1.8 * s, [920], 0.1, 0.5 * s, 0.35);
+ }
+ _shutdownRetrofuture(now, s) {
+ this._click(now, 140, 0.05, 0.55);
+ this._tone({ type: 'triangle', startFreq: 550, endFreq: 65, startTime: now + 0.5 * s, duration: 1.2 * s, peakVol: 0.28 });
+ this._noise({ noiseType: 'pink', filterType: 'bandpass', startFreq: 450, endFreq: 150, startTime: now + 0.6 * s, duration: 1.1 * s, peakVol: 0.22 });
+ this._tone({ type: 'sine', startFreq: 3200, endFreq: 120, startTime: now + 1.7 * s, duration: 0.7 * s, peakVol: 0.2 });
+ }
+
+ // 11. MILITARY
+ _startupMilitary(now, s) {
+ this._click(now, 120, 0.06, 0.6);
+ this._tone({ type: 'square', startFreq: 60, endFreq: 120, startTime: now, duration: 0.6 * s, peakVol: 0.35, filterType: 'lowpass', filterFreq: 250 });
+ this._tone({ type: 'sawtooth', startFreq: 140, endFreq: 880, startTime: now + 0.6 * s, duration: 1.2 * s, peakVol: 0.35, filterType: 'bandpass', filterFreq: 750, filterQ: 3.0 });
+ this._sub(now + 0.7 * s, 40, 85, 1.1 * s, 0.65);
+ this._chime(now + 1.8 * s, [750, 750], 0.08 * s, 0.35 * s, 0.35);
+ }
+ _shutdownMilitary(now, s) {
+ this._click(now, 150, 0.04, 0.5);
+ this._chime(now + 0.05 * s, [880], 0.1, 0.3 * s, 0.35);
+ this._tone({ type: 'sawtooth', startFreq: 850, endFreq: 70, startTime: now + 0.5 * s, duration: 1.3 * s, peakVol: 0.28, filterType: 'lowpass', filterFreq: 500 });
+ this._noise({ noiseType: 'pink', filterType: 'lowpass', startFreq: 600, endFreq: 140, startTime: now + 0.6 * s, duration: 1.2 * s, peakVol: 0.28 });
+ this._sub(now + 1.7 * s, 70, 25, 0.8 * s, 0.4);
+ }
+
+ // 12. DEEP SPACE
+ _startupDeepSpace(now, s) {
+ this._noise({ noiseType: 'white', filterType: 'bandpass', startFreq: 2400, endFreq: 1200, startTime: now, duration: 0.65 * s, peakVol: 0.32 });
+ this._sub(now + 0.7 * s, 28, 68, 1.1 * s, 0.7);
+ this._tone({ type: 'sine', startFreq: 110, endFreq: 280, startTime: now + 0.75 * s, duration: 1.1 * s, peakVol: 0.3 });
+ this._chime(now + 1.8 * s, [440, 554], 0.1 * s, 0.5 * s, 0.25);
+ }
+ _shutdownDeepSpace(now, s) {
+ this._sub(now, 68, 25, 0.7 * s, 0.65);
+ this._tone({ type: 'sine', startFreq: 260, endFreq: 50, startTime: now + 0.6 * s, duration: 1.2 * s, peakVol: 0.25 });
+ this._noise({ noiseType: 'brown', filterType: 'lowpass', startFreq: 200, endFreq: 40, startTime: now + 0.7 * s, duration: 1.1 * s, peakVol: 0.3 });
+ this._sub(now + 1.7 * s, 35, 15, 0.8 * s, 0.25);
+ }
+
+ // 13. OUTLAW
+ _startupOutlaw(now, s) {
+ [0, 0.1, 0.22, 0.32, 0.44].forEach(dt => this._click(now + dt * s, 130 + Math.random() * 40, 0.035, 0.4));
+ this._tone({ type: 'sawtooth', startFreq: 70, endFreq: 130, startTime: now + 0.1 * s, duration: 0.5 * s, peakVol: 0.3, filterType: 'lowpass', filterFreq: 280 });
+ this._tone({ type: 'sawtooth', startFreq: 180, endFreq: 1150, startTime: now + 0.65 * s, duration: 1.15 * s, peakVol: 0.35, filterType: 'bandpass', filterFreq: 900, filterQ: 4.0 });
+ this._sub(now + 0.7 * s, 45, 80, 1.1 * s, 0.65);
+ this._noise({ noiseType: 'white', filterType: 'highpass', startFreq: 2800, endFreq: 1500, startTime: now + 1.8 * s, duration: 0.3 * s, peakVol: 0.35 });
+ }
+ _shutdownOutlaw(now, s) {
+ this._click(now, 70, 0.08, 0.7, 'sawtooth');
+ this._sub(now, 90, 40, 0.4 * s, 0.7);
+ [0.5, 0.8, 1.15, 1.55].forEach(dt => this._click(now + dt * s, 90, 0.04, 0.35));
+ this._tone({ type: 'sawtooth', startFreq: 750, endFreq: 55, startTime: now + 0.5 * s, duration: 1.3 * s, peakVol: 0.25, filterType: 'lowpass', filterFreq: 350 });
+ this._noise({ noiseType: 'pink', filterType: 'lowpass', startFreq: 350, endFreq: 80, startTime: now + 1.7 * s, duration: 0.8 * s, peakVol: 0.25 });
+ }
+
+ // 14. STATION
+ _startupStation(now, s) {
+ this._chime(now, [587, 880], 0.08 * s, 0.35 * s, 0.3);
+ this._click(now + 0.15 * s, 110, 0.05, 0.45);
+ this._sub(now + 0.6 * s, 30, 65, 1.2 * s, 0.7);
+ this._tone({ type: 'sawtooth', startFreq: 70, endFreq: 240, startTime: now + 0.65 * s, duration: 1.15 * s, peakVol: 0.28, filterType: 'lowpass', filterFreq: 280 });
+ this._noise({ noiseType: 'pink', filterType: 'lowpass', startFreq: 200, endFreq: 500, startTime: now + 0.8 * s, duration: 1.0 * s, peakVol: 0.25 });
+ this._click(now + 1.8 * s, 85, 0.06, 0.5);
+ }
+ _shutdownStation(now, s) {
+ this._click(now, 105, 0.05, 0.5);
+ this._sub(now + 0.5 * s, 65, 25, 1.4 * s, 0.55);
+ this._tone({ type: 'sawtooth', startFreq: 220, endFreq: 45, startTime: now + 0.55 * s, duration: 1.3 * s, peakVol: 0.22, filterType: 'lowpass', filterFreq: 200 });
+ this._noise({ noiseType: 'pink', filterType: 'lowpass', startFreq: 280, endFreq: 90, startTime: now + 1.6 * s, duration: 0.9 * s, peakVol: 0.2 });
+ }
+
+ // 15. COMEDY
+ _startupComedy(now, s) {
+ this._chime(now, [330, 440, 554, 659], 0.07 * s, 0.35 * s, 0.32);
+ this._tone({ type: 'sawtooth', startFreq: 110, endFreq: 1400, startTime: now + 0.55 * s, duration: 1.25 * s, peakVol: 0.3, filterType: 'bandpass', filterFreq: 800, filterQ: 3.5 });
+ this._sub(now + 0.7 * s, 40, 75, 1.1 * s, 0.5);
+ this._chime(now + 1.8 * s, [1200], 0.1, 0.5 * s, 0.4);
+ }
+ _shutdownComedy(now, s) {
+ this._tone({ type: 'sine', startFreq: 920, endFreq: 140, startTime: now, duration: 0.85 * s, peakVol: 0.32 });
+ [0.7, 0.82, 0.96, 1.12].forEach(dt => this._click(now + dt * s, 420 + Math.random() * 200, 0.025, 0.3));
+ this._noise({ noiseType: 'white', filterType: 'bandpass', startFreq: 300, endFreq: 100, startTime: now + 1.6 * s, duration: 0.6 * s, peakVol: 0.25 });
+ }
+}
+
+window.EngineTransitionSynth = EngineTransitionSynth;
+
diff --git a/js/config.js b/js/config.js
index 0f3105e..a467daa 100644
--- a/js/config.js
+++ b/js/config.js
@@ -162,11 +162,12 @@ const UniverseRegistry = {
{ id: 'btn-yellow-alert', label: 'YELLOW ALERT', type: 'alert-yellow' }
],
soundboard: [
- { id: 'btn-chirp-single', label: 'SINGLE CHIRP' },
- { id: 'btn-chirp-double', label: 'DOUBLE CHIRP' },
- { id: 'btn-chirp-ack', label: 'DATA ACK' },
- { id: 'btn-chirp-sweep', label: 'SENSOR SWEEP' },
- { id: 'btn-chirp-door', label: 'DOOR CHIME (2-TONE)', span: 2 }
+ { id: 'btn-comm-badge', label: 'COMM BADGE CHIRP' },
+ { id: 'btn-door-swish', label: 'DOOR PNEUMATIC SWISH' },
+ { id: 'btn-bosun-whistle', label: "BOSUN'S PIPE WHISTLE" },
+ { id: 'btn-medical-monitor', label: 'SICKBAY ECG MONITOR' },
+ { id: 'btn-chirp-single', label: 'LCARS SINGLE CHIRP' },
+ { id: 'btn-chirp-ack', label: 'LCARS DATA ACK' }
],
presets: StarshipPresets
},
@@ -188,11 +189,12 @@ const UniverseRegistry = {
{ id: 'btn-vortex', label: 'VORTEX FLIGHT', type: 'vortex' }
],
soundboard: [
- { id: 'btn-sonic', label: 'SONIC SCREWDRIVER' },
- { id: 'btn-fast-return', label: 'FAST-RETURN LEVER' },
+ { id: 'btn-sonic', label: 'SONIC SCREWDRIVER' },
+ { id: 'btn-lever-clunk', label: 'LEVER-THROW CLUNK' },
+ { id: 'btn-tardis-door', label: 'POLICE BOX WOODEN DOOR' },
+ { id: 'btn-fast-return', label: 'FAST-RETURN LEVER' },
{ id: 'btn-demat-switch', label: 'DEMAT SWITCH' },
- { id: 'btn-telepathic', label: 'TELEPATHIC CHIME' },
- { id: 'btn-scanner', label: 'SCANNER MONITOR HUM', span: 2 }
+ { id: 'btn-telepathic', label: 'TELEPATHIC CHIME' }
],
presets: {
'tardis-1963': {
@@ -299,11 +301,12 @@ const UniverseRegistry = {
{ id: 'btn-reactor-vent', label: 'REACTOR VENT', type: 'vent' }
],
soundboard: [
- { id: 'btn-geiger', label: 'GEIGER COUNTER' },
- { id: 'btn-dock-clamp', label: 'HYDRAULIC CLAMPS' },
- { id: 'btn-relay-click', label: 'M/TH/UR TELETYPE' },
- { id: 'btn-switch-pop', label: 'HEAVY SOLENOID' },
- { id: 'btn-pneumatic-door', label: 'PNEUMATIC SEAL PURGE', span: 2 }
+ { id: 'btn-geiger', label: 'GEIGER COUNTER' },
+ { id: 'btn-dock-clamp', label: 'HYDRAULIC CLAMPS' },
+ { id: 'btn-relay-click', label: 'M/TH/UR TELETYPE' },
+ { id: 'btn-switch-pop', label: 'HEAVY SOLENOID' },
+ { id: 'btn-pneumatic-door', label: 'PNEUMATIC SEAL PURGE' },
+ { id: 'btn-air-handler', label: 'HVAC AIR HANDLER' }
],
presets: {
'ind-nostromo': {
@@ -407,10 +410,11 @@ const UniverseRegistry = {
],
soundboard: [
{ id: 'btn-telepathic-chime', label: 'NEURAL TWITCH' },
- { id: 'btn-fast-return', label: 'VASCULAR PUMP' },
- { id: 'btn-demat-switch', label: 'CHITIN CREAK' },
- { id: 'btn-chirp-sweep', label: 'BIOPLASMIC HISS' },
- { id: 'btn-sonic', label: 'SYMBIOTE VOCALIZATION', span: 2 }
+ { id: 'btn-fast-return', label: 'VASCULAR PUMP' },
+ { id: 'btn-demat-switch', label: 'CHITIN CREAK' },
+ { id: 'btn-chirp-sweep', label: 'BIOPLASMIC HISS' },
+ { id: 'btn-sonic', label: 'SYMBIOTE VOCALIZATION' },
+ { id: 'btn-relay-click', label: 'MEMBRANE FLUTTER' }
],
presets: {
'bio-moya': {
@@ -457,10 +461,10 @@ const UniverseRegistry = {
id: 'bio-wraith',
name: 'Wraith Hive Ship: Throne Chamber',
era: 'stargate',
- description: 'Groaning organic chitin hull growth, damp biomechanical respiration, and deep hive sub-bass.',
+ description: 'Groaning organic chitin hull growth, damp misty life-support atmosphere, and deep hive sub-bass.',
hull: { volume: 0.85, baseFreq: 34, filterCutoff: 85, resonance: 2.5, noiseMix: 0.65, harmonicSpread: 1.015 },
warp: { volume: 0.6, bpm: 32, carrierFreq: 44, filterCutoff: 120, pulseShape: 'nx', resonance: 3.0, swirlMix: 0.25 },
- lifeSupport: { volume: 0.65, noiseType: 'brown', highpassFreq: 100, lowpassFreq: 1100, airflowModSpeed: 0.08, airflowModDepth: 0.18 },
+ lifeSupport: { volume: 0.65, noiseType: 'brown', highpassFreq: 90, lowpassFreq: 900, airflowModSpeed: 0.06, airflowModDepth: 0.22 },
telemetry: { volume: 0.3, density: 0.25, era: 'nx' }
},
'bio-species-8472': {
@@ -493,11 +497,12 @@ const UniverseRegistry = {
{ id: 'btn-hal-override', label: 'HAL 9000 OVERRIDE', type: 'hal' }
],
soundboard: [
- { id: 'btn-hal-chime', label: 'HAL LOGIC CONFIRM' },
- { id: 'btn-relay-click', label: 'TAPE REEL SPOOL' },
+ { id: 'btn-hal-chime', label: 'HAL LOGIC CONFIRM' },
+ { id: 'btn-relay-click', label: 'TAPE REEL SPOOL' },
{ id: 'btn-chirp-single', label: 'ASTROGATOR BEAT' },
- { id: 'btn-chirp-sweep', label: 'ANALOG GLISSANDO' },
- { id: 'btn-fast-return', label: 'MAGNETIC TAPE LATCH', span: 2 }
+ { id: 'btn-chirp-sweep', label: 'ANALOG GLISSANDO' },
+ { id: 'btn-fast-return', label: 'MAGNETIC TAPE LATCH' },
+ { id: 'btn-dock-clamp', label: 'PNEUMATIC SEAL PURGE' }
],
presets: {
'ret-jupiter-2': {
@@ -601,10 +606,11 @@ const UniverseRegistry = {
],
soundboard: [
{ id: 'btn-dradis-ping', label: 'DRADIS SCAN PING' },
- { id: 'btn-switch-pop', label: 'WEAPONS ARMED' },
- { id: 'btn-dock-clamp', label: 'BULKHEAD SEAL' },
+ { id: 'btn-switch-pop', label: 'WEAPONS ARMED' },
+ { id: 'btn-dock-clamp', label: 'BULKHEAD SEAL' },
{ id: 'btn-chirp-sweep', label: 'RADAR TARGET LOCK' },
- { id: 'btn-fast-return', label: 'TURBO-THRUSTER SWELL', span: 2 }
+ { id: 'btn-fast-return', label: 'TURBO-THRUSTER SWELL' },
+ { id: 'btn-air-handler', label: 'RCS THRUSTER BURST' }
],
presets: {
'mil-sulaco': {
@@ -697,11 +703,12 @@ const UniverseRegistry = {
{ id: 'btn-solar-swell', label: 'SOLAR SHIELD SWELL', type: 'solar' }
],
soundboard: [
+ { id: 'btn-solar-roar', label: 'HEAT SHIELD ROAR' },
+ { id: 'btn-cryo-sigh', label: 'CRYO POD SIGH' },
+ { id: 'btn-orion-thump', label: 'ORION PULSE THUMP' },
+ { id: 'btn-dock-clamp', label: 'HULL STRAIN MOAN' },
{ id: 'btn-telepathic-chime', label: 'VOID RESONANCE' },
- { id: 'btn-switch-pop', label: 'GRAVITY INJECTOR' },
- { id: 'btn-dock-clamp', label: 'HULL STRAIN MOAN' },
- { id: 'btn-chirp-sweep', label: 'TACHYON SENSOR PING' },
- { id: 'btn-relay-click', label: 'CRYO-SUITE REGULATOR', span: 2 }
+ { id: 'btn-chirp-sweep', label: 'TACHYON SENSOR PING' }
],
presets: {
'deep-avalon': {
@@ -794,11 +801,12 @@ const UniverseRegistry = {
{ id: 'btn-sub-drive', label: 'SUB-DRIVE SWELL', type: 'subdrive' }
],
soundboard: [
- { id: 'btn-tape-clunk', label: 'CASSETTE DECK CLUNK' },
- { id: 'btn-switch-pop', label: 'GRAPPLER ARM MOTOR' },
- { id: 'btn-dock-clamp', label: 'FUEL LINE VALVE' },
- { id: 'btn-chirp-sweep', label: 'RADIO STATIC BURST' },
- { id: 'btn-fast-return', label: 'TURBO JET BURN', span: 2 }
+ { id: 'btn-tape-clunk', label: 'CASSETTE CLUNK & WHIRR' },
+ { id: 'btn-grappler-servo', label: 'GRAPPLER SERVO MOTOR' },
+ { id: 'btn-radio-static', label: 'RF SQUELCH STATIC BURST' },
+ { id: 'btn-dock-clamp', label: 'FUEL LINE VALVE' },
+ { id: 'btn-afterburner-snd',label: 'AFTERBURNER BOOST' },
+ { id: 'btn-fast-return', label: 'TURBO JET BURN' }
],
presets: {
'out-betty': {
@@ -882,10 +890,11 @@ const UniverseRegistry = {
],
soundboard: [
{ id: 'btn-air-handler', label: 'AIR HANDLER THUD' },
- { id: 'btn-dock-clamp', label: 'DOCKING CLAMP LATCH' },
- { id: 'btn-tram-gong', label: 'TRAM DEPARTURE GONG' },
- { id: 'btn-relay-click', label: 'COMM PA BEAT' },
- { id: 'btn-telepathic-chime', label: 'ZOCALO PLAZA CHIME', span: 2 }
+ { id: 'btn-mag-boot', label: 'MAG-BOOT LATCH' },
+ { id: 'btn-commlock', label: 'COMMLOCK CALLING TONE' },
+ { id: 'btn-sevas-spark', label: 'CONDUIT SPARK ARC' },
+ { id: 'btn-station-ecg', label: 'CLINICAL VITAL (ECG)' },
+ { id: 'btn-dock-clamp', label: 'DOCKING CLAMP LATCH' }
],
presets: {
'sta-babylon-5': {
@@ -968,11 +977,12 @@ const UniverseRegistry = {
{ id: 'btn-quantum-jump', label: 'QUANTUM JUMP', type: 'quantum' }
],
soundboard: [
- { id: 'btn-cheerful-door', label: 'CHEERFUL DOOR SIGH' },
- { id: 'btn-beryllium-pulse', label: 'BERYLLIUM CORE PULSE' },
- { id: 'btn-tea-machine', label: 'TEA DISPENSER GURGLE' },
- { id: 'btn-chirp-ack', label: 'ORVILLE ACK CHIRP' },
- { id: 'btn-sonic', label: 'OMEGA-13 CHARGE', span: 2 }
+ { id: 'btn-cheerful-door', label: 'CHEERFUL DOOR SIGH' },
+ { id: 'btn-tea-machine', label: 'TEA DISPENSER GURGLE' },
+ { id: 'btn-kettle-whistle', label: 'KETTLE STEAM WHISTLE' },
+ { id: 'btn-plaid-alarm', label: 'LUDICROUS PLAID ALARM' },
+ { id: 'btn-beryllium-pulse',label: 'BERYLLIUM CORE PULSE' },
+ { id: 'btn-chirp-ack', label: 'ORVILLE ACK CHIRP' }
],
presets: {
'com-orville': {
@@ -1031,6 +1041,117 @@ const UniverseRegistry = {
window.UniverseRegistry = UniverseRegistry;
+// Canonical Engine Startup & Shutdown Profile Matrix (15 Archetypes mapped to 70 Presets)
+const PresetEngineProfiles = {
+ // Starfleet TNG
+ 'tng-bridge': 'galaxy',
+ 'tng-engineering': 'galaxy',
+ 'tng-quarters': 'galaxy',
+ // Starfleet Voyager
+ 'voyager-bridge': 'intrepid',
+ 'voyager-engineering': 'intrepid',
+ // Starfleet Defiant
+ 'defiant-bridge': 'defiant',
+ // Starfleet Cardassian / Bajoran
+ 'ds9-ops': 'cardassian',
+ // Starfleet TOS
+ 'tos-bridge': 'tos',
+ 'tos-engineering': 'tos',
+ // Starfleet NX
+ 'nx-bridge': 'nx',
+ // Whoniverse TARDIS
+ 'tardis-1963': 'tardis',
+ 'tardis-victorian': 'tardis',
+ 'tardis-coral': 'tardis',
+ 'tardis-copper': 'tardis',
+ 'tardis-cold-machine': 'tardis',
+ 'tardis-crystal': 'tardis',
+ 'tardis-infinite-white': 'tardis',
+ // Industrial
+ 'ind-nostromo': 'industrial',
+ 'ind-serenity': 'outlaw',
+ 'ind-red-dwarf': 'industrial',
+ 'ind-starbug': 'industrial',
+ 'ind-raza': 'military',
+ 'ind-rocinante': 'military',
+ 'ind-eagle': 'retrofuture',
+ 'ind-valley-forge': 'industrial',
+ // Bioships
+ 'bio-moya': 'bioship',
+ 'bio-talyn': 'bioship',
+ 'bio-lexx': 'bioship',
+ 'bio-vorlon': 'bioship',
+ 'bio-wraith': 'bioship',
+ 'bio-species-8472': 'bioship',
+ // Retrofuture
+ 'ret-jupiter-2': 'retrofuture',
+ 'ret-liberator': 'retrofuture',
+ 'ret-cygnus': 'retrofuture',
+ 'ret-palomino': 'retrofuture',
+ 'ret-discovery-one': 'retrofuture',
+ 'ret-dark-star': 'comedy',
+ 'ret-gunstar': 'military',
+ 'ret-searcher': 'retrofuture',
+ // Military
+ 'mil-sulaco': 'military',
+ 'mil-galactica': 'military',
+ 'mil-white-star': 'military',
+ 'mil-agamemnon': 'military',
+ 'mil-andromeda': 'military',
+ 'mil-excalibur': 'military',
+ 'mil-viper': 'military',
+ // Deep Space
+ 'deep-avalon': 'deepspace',
+ 'deep-nightflyer': 'deepspace',
+ 'deep-ascension': 'deepspace',
+ 'deep-ark-one': 'deepspace',
+ 'deep-icarus-ii': 'deepspace',
+ 'deep-event-horizon': 'deepspace',
+ 'deep-lewis-clark': 'deepspace',
+ // Outlaw
+ 'out-betty': 'outlaw',
+ 'out-bebop': 'outlaw',
+ 'out-outlaw-star': 'outlaw',
+ 'out-scorpio': 'outlaw',
+ 'out-marauder': 'outlaw',
+ 'out-milano': 'outlaw',
+ // Space Stations
+ 'sta-babylon-5': 'station',
+ 'sta-moonbase-alpha': 'station',
+ 'sta-sevastopol': 'station',
+ 'sta-tycho': 'station',
+ 'sta-ceres': 'station',
+ 'sta-gateway': 'station',
+ // Comedy
+ 'com-orville': 'comedy',
+ 'com-protector': 'comedy',
+ 'com-heart-of-gold': 'comedy',
+ 'com-camden-lock': 'comedy',
+ 'com-spaceball-one': 'comedy'
+};
+
+function getEngineProfileForPreset(presetId, universeId) {
+ if (presetId && PresetEngineProfiles[presetId]) {
+ return PresetEngineProfiles[presetId];
+ }
+ const universeDefaults = {
+ starfleet: 'galaxy',
+ whoniverse: 'tardis',
+ industrial: 'industrial',
+ bioships: 'bioship',
+ retrofuture: 'retrofuture',
+ military: 'military',
+ deepspace: 'deepspace',
+ outlaw: 'outlaw',
+ spacestations: 'station',
+ comedy: 'comedy'
+ };
+ return universeDefaults[universeId] || 'galaxy';
+}
+
+window.PresetEngineProfiles = PresetEngineProfiles;
+window.getEngineProfileForPreset = getEngineProfileForPreset;
+
/**
* LCARS Audio Visualizer & Warp Core Intermix Chamber Display
diff --git a/sound_reference.md b/sound_reference.md
index ea2015d..c8eb392 100644
--- a/sound_reference.md
+++ b/sound_reference.md
@@ -12,8 +12,14 @@ this document maps them to their real counterparts and identifies what is
Scope: Star Trek (five eras the telemetry router already knows), Doctor Who
/ The Whoniverse, the six ships grouped under this app's `bioships` universe,
-and the six stations grouped under `spacestations`. Other universes are a
-later pass.
+the six stations grouped under `spacestations`, the seven exploration
+arks and void vessels grouped under `deepspace`, the five ships grouped
+under `comedy`, the six vessels grouped under `outlaw`, the seven
+warships and combat vessels grouped under `military`, the eight
+heavy refinery and freight vessels grouped under `industrial`, and
+the eight Golden Age and vintage vessels grouped under `retrofuture`.
+All 10 sci-fi universes and all 70 canonical profiles in the application
+are documented below.
---
@@ -269,6 +275,25 @@ discrete vocabulary.
---
+## Starfleet Command preset mapping
+
+Every Starfleet preset in `StarshipPresets` is audited against the audio engine:
+
+| Preset ID | Vessel & Location | Era | Hull Drone | Warp Core | Life Support | Telemetry |
+| --- | --- | --- | --- | --- | --- | --- |
+| `tng-bridge` | Enterprise NCC-1701-D: Main Bridge | `tng` | 45 Hz, 90 Hz lp, 0.45 noise | 44 bpm, 60 Hz, `tng` | Pink, 180–1800 Hz | `tng` (volume 0.5, density 0.6) |
+| `tng-engineering` | Enterprise NCC-1701-D: Main Engineering | `tng` | 52 Hz, 120 Hz lp, 0.50 noise | 60 bpm, 75 Hz, `tng` | Pink, 160–1600 Hz | `tng` (volume 0.3, density 0.3) |
+| `tng-quarters` | Enterprise NCC-1701-D: Captain's Quarters | `tng` | 38 Hz, 75 Hz lp, 0.40 noise | 32 bpm, 45 Hz, `tng` | Pink, 120–1200 Hz | `tng` (volume 0.1, density 0.1) |
+| `voyager-bridge` | USS Voyager: Command Bridge | `voyager` | 62 Hz, 130 Hz lp, 0.40 noise | 52 bpm, 80 Hz, `voyager` | Pink, 200–2200 Hz | `voyager` (volume 0.6, density 0.7) |
+| `voyager-engineering` | USS Voyager: Warp Engineering | `voyager` | 70 Hz, 180 Hz lp, 0.45 noise | 66 bpm, 95 Hz, `voyager` | Pink, 220–2400 Hz | `voyager` (volume 0.35, density 0.4) |
+| `defiant-bridge` | USS Defiant: Tactical Bridge | `defiant` | 58 Hz, 140 Hz lp, 0.50 noise | 64 bpm, 72 Hz, `defiant` | Pink, 180–2000 Hz | `ds9` (volume 0.5, density 0.65) |
+| `ds9-ops` | Deep Space Nine: Operations Center | `ds9` | 42 Hz, 95 Hz lp, 0.60 noise | 36 bpm, 48 Hz, `nx` | Brown, 120–1300 Hz | `ds9` (volume 0.45, density 0.55) |
+| `tos-bridge` | Enterprise NCC-1701: Bridge (TOS) | `tos` | 75 Hz, 160 Hz lp, 0.30 noise | 54 bpm, 110 Hz, `tos` | Pink, 250–2800 Hz | `tos` (volume 0.6, density 0.8) |
+| `tos-engineering` | Enterprise NCC-1701: Engineering (TOS) | `tos` | 88 Hz, 220 Hz lp, 0.35 noise | 58 bpm, 132 Hz, `tos` | Pink, 280–2200 Hz | `tos` (volume 0.25, density 0.3) |
+| `nx-bridge` | Enterprise NX-01: Command Bridge | `nx` | 48 Hz, 110 Hz lp, 0.55 noise | 42 bpm, 65 Hz, `nx` | Brown, 150–1800 Hz | `nx` (volume 0.45, density 0.5) |
+
+---
+
## Star Trek open questions
Deliberately unresolved rather than guessed:
@@ -443,6 +468,24 @@ because `telemetry.era` only has five Trek values to choose from. A dedicated
percussive character — would be the single biggest authenticity improvement
available to this universe, bigger than any individual missing one-shot.
+---
+
+## Whoniverse console room preset mapping
+
+Every TARDIS console room preset is audited against the audio engine:
+
+| Preset ID | Console Room / Doctor | Era | Hull Drone | Warp Core | Life Support | Telemetry |
+| --- | --- | --- | --- | --- | --- | --- |
+| `tardis-1963` | 1963 Classic Console (1st / 2nd Doctors) | `classic` | 68 Hz, 150 Hz lp, 0.35 noise | 52 bpm, 96 Hz, `tos` | Pink, 220–1800 Hz | `tos` (volume 0.55, density 0.6) |
+| `tardis-victorian` | Victorian Secondary Console (4th Doctor) | `classic` | 44 Hz, 85 Hz lp, 0.45 noise | 40 bpm, 50 Hz, `nx` | Brown, 110–1200 Hz | `nx` (volume 0.35, density 0.4) |
+| `tardis-coral` | Coral Console (9th / 10th Doctors) | `revival` | 42 Hz, 90 Hz lp, 0.50 noise | 46 bpm, 56 Hz, `nx` | Brown, 140–1400 Hz | `ds9` (volume 0.4, density 0.45) |
+| `tardis-copper` | The Copper Workshop (11th Doctor) | `revival` | 56 Hz, 125 Hz lp, 0.40 noise | 62 bpm, 72 Hz, `voyager` | White, 220–2200 Hz | `voyager` (volume 0.55, density 0.7) |
+| `tardis-cold-machine` | The Cold Machine (12th Doctor) | `revival` | 50 Hz, 110 Hz lp, 0.38 noise | 56 bpm, 68 Hz, `tng` | Pink, 200–1600 Hz | `ds9` (volume 0.4, density 0.5) |
+| `tardis-crystal` | The Singing Crystal Console (13th Doctor) | `revival` | 46 Hz, 100 Hz lp, 0.50 noise | 44 bpm, 88 Hz, `defiant` | Pink, 180–1900 Hz | `voyager` (volume 0.5, density 0.6) |
+| `tardis-infinite-white` | The Infinite White (14th / 15th Doctors) | `modern` | 48 Hz, 95 Hz lp, 0.42 noise | 50 bpm, 60 Hz, `tng` | White, 160–2600 Hz | `tng` (volume 0.45, density 0.6) |
+
+---
+
## Whoniverse open questions
- **[GAP]** The cloister bell's real strike interval and who created the sound.
@@ -738,205 +781,3686 @@ about regardless of any real-world research.
## Station-by-station
-### Babylon 5: Core Control & Zocalo
+### Babylon 5: Core Control & Zocalo (Babylon 5)
-**[DOC]** The station is a 5-mile, self-sufficient O'Neill-cylinder-style
-habitat. Unlike Gerard O'Neill's original counter-rotating-cylinder concept,
-Babylon 5's cylinders rotate about the *same* axis while still maintaining zero
-net angular momentum — a specific, citable engineering detail — and the
-station draws power from fusion reactors rather than the solar collection
-O'Neill's original design assumed.
+**Production context [DOC]:** Babylon 5's audio identity was created by a
+digital post-production sound team under supervising sound editors **Andrew
+DeCristofaro**, sound supervisor **Michael Payne**, and sound effects editors
+**Jeff K. Brunello** and **Matt Yocum** at Soundelux, working alongside
+composer **Christopher Franke** (formerly of Tangerine Dream). Franke’s
+original score fused atmospheric acoustic textures and complex analog/digital
+synthesizer soundscapes directly into the show's background environments.
-**[GAP]** No production sound-design source located for the station's actual
-audio identity or for the Zocalo (its central commerce plaza) specifically.
+**[DOC]** The station is an O'Neill-class cylinder five miles (8 km) in length
+and one mile in diameter, maintaining artificial gravity purely through
+centrifugal rotation. Unlike Gerard O'Neill's original concept of two
+counter-rotating cylinders placed side-by-side to cancel gyroscopic precession,
+Babylon 5 maintains internal counter-rotating flywheels and concentric rings
+along a single longitudinal axis. The central axis remains in zero gravity,
+housing the Cobra launch bays, docking spine, and cargo transfer cradles, while
+the outer habitable hull spins to produce up to 1.3G of centrifugal gravity.
+Power is generated by eight subterranean fusion reactors rather than solar
+arrays.
-*Covered by:* preset `sta-babylon-5` — the lowest `warp` bpm outside Sevastopol
-(34) standing in for slow centrifugal rotation rather than any engine rhythm,
-heavy noise mix (0.6) for structural mass, `telemetry.era: 'ds9'` (a Cardassian
-sensor tone for a station that has nothing to do with Cardassia — the same
-Trek-borrowing pattern documented in `telemetry_elements.md`).
+#### Ambience bed
-### Moonbase Alpha: Main Mission Control
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Core Command & Control (C&C) | Located in the forward spherical section near the rotation axis (low G). Steady, low-frequency hum of primary navigation computers, multiple simultaneous soft comm-channel chatter, and status chimes. | **[OBS]** |
+| The Zocalo (Commerce Plaza) | Open, reverberant multi-level concourse in the spinning habitat ring (Green Sector). Multi-species crowd murmur, alien vocalizations, distant transit monorail rumbles, and public address chime announcements. | **[OBS]** |
+| Docking Bay & Axis Spine | Deep, resonant metallic groans from electromagnetic docking cradles, pressurized nitrogen/oxygen atmosphere pumps cycling, and heavy Starfury launch-rack hydraulic releases in zero-G. | **[OBS]** |
-**[DOC]** Moonbase Alpha is a **static lunar surface installation**, not a
-rotating station — it's a four-kilometer, self-sustaining complex in the
-Moon's Plato crater, kept habitable by four nuclear reactors, solar
-supplementation, and **eight anti-gravity towers** rather than spin gravity.
-Water comes from recycled subsurface ice; food from hydroponics and
-biochemical synthesis; sections connect via pressurized travel tubes. Main
-Mission itself is a large multi-level control room (relocated underground to a
-smaller room in the show's second season for added protection).
+*Covered by:* preset `sta-babylon-5` (`hull`: volume 0.8, `baseFreq: 40`,
+`filterCutoff: 95`, `noiseMix: 0.6`; `warp`: volume 0.45, `bpm: 34`,
+`pulseShape: 'nx'`; `lifeSupport`: volume 0.7, `noiseType: 'pink'`,
+`highpassFreq: 140`, `lowpassFreq: 1600`; `telemetry.era: 'ds9'`). The low 34
+bpm pulse stands in for slow centrifugal rotation and structural mass rather
+than any propulsion rhythm.
-**[GAP]** No production audio-design source located.
+#### Discrete sounds
-**Design nuance worth flagging:** Moonbase Alpha is the *one* preset in this
-category that structurally has no rotation to rumble with — everything else
-here spins. Its current `hull`/`warp` parameters (54 Hz base, 44 bpm) don't
-distinguish it from the rotating stations in any deliberate way; there is
-nothing wrong with the numbers, but the *reason* for them (reactor and
-travel-tube hum, not spin) isn't represented by anything the other presets
-don't also have.
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Station Intercom Chime | Soft, pleasant two-tone chime preceding stationwide or C&C announcements. | *none* — **gap** (currently relabels demat switch as "Comm PA Beat") | **[OBS]** |
+| Defense Grid Klaxon | Rapid, urgent alternating warble horn sounding when heavy pulse-cannon defense turrets arm and deploy. | `AlertSynth` / station alert | **[OBS]** |
+| C&C Computer Acknowledge | Discrete electronic chirps acknowledging commands entered by station personnel; computer voice provided by Patricia Tallman. | **Cardassian Sensor** / **Single Chirp** (via `ds9` telemetry) | **[OBS]** |
+| Docking Clamp Latches | Heavy mechanical clamp engagement with hydraulic compression when freighters enter the central docking spine. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` | **[OBS]** |
+| Zocalo Plaza Chime | Public announcement prompt chiming throughout the marketplace concourse. | `WhoniverseAudioSynth.synthesizeTelepathicChime` (relabeled) | **[ATT]** |
-*Covered by:* preset `sta-moonbase-alpha` — `telemetry.era: 'tos'` is the one
-telemetry choice in this category that actually lines up with real production
-history: Space: 1999 (1975) and TOS (1966) are close contemporaries in
-broadcast-era electronic sound design, so borrowing TOS's warble for a 1970s
-lunar base is coincidentally more defensible than any other era-borrowing case
-in this document.
+**Assessment:** The preset's heavy hull noise mix (0.6) and deep 40 Hz base
+frequency capture the immense physical scale of an 8-kilometer spinning metal
+cylinder effectively. The clearest mismatch is telemetry: `era: 'ds9'` produces
+a Cardassian sensor tone (a harsh tritone dissonance designed for Terok Nor)
+which has no relationship to Earth Alliance technology or Babylon 5's
+cleaner computer interfaces.
+
+---
+
+### Moonbase Alpha: Main Mission Control (Space: 1999)
+
+**Production context [DOC]:** Sound editing for *Space: 1999* (1975–1977,
+produced by Gerry and Sylvia Anderson) was supervised by **Roy Lafbery** (a
+veteran sound editor from *Thunderbirds* and *UFO*) and dubbing editor **Alan
+Killick**, with music editor **Alan Willis** collaborating with composers Barry
+Gray and Vic Elms.
+
+**[DOC]** Moonbase Alpha is a **static lunar surface installation**, not an
+orbital station. Situated in the Moon's crater Plato, it is a four-kilometer,
+self-contained complex housing 311 personnel. Unlike every other station in this
+universe, Alpha does not rotate: Earth-normal gravity is generated by **eight
+anti-gravity towers** arranged around the base perimeter. Habitation, life
+support, and research depend on four subterranean nuclear generating stations.
+Personnel move between outlying launch pads, living quarters, and technical
+sections via an underground network of high-speed pressurized travel tubes.
+
+**[DOC]** Sound effects for Moonbase Alpha were synthesized on early analog
+synthesizers, predominantly the **ARP Odyssey**, patched for stepped frequency
+sweeps, square-wave computer chirps, and warning sirens. Practical foley was
+fused with analog synthesis: aerosol propellant cans were blasted directly
+into microphones to produce the pneumatic hiss of Eagle transporter thrusters
+and pressurized blast doors.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Main Mission / Command Center | Cavernous subterranean control deck dominated by continuous electromechanical mainframe hums, cooling blowers, analog computer status warbles, and the rhythmic clicking of teleprinters. | **[OBS]** |
+| Nuclear Generating Plants | Deep, unmoving 50/60 Hz electrical transformer drone with intense electromagnetic resonance, isolated beneath the lunar crust. | **[OBS]** |
+| Travel Tube Transit Network | Pneumatic whoosh and low sub-surface vibration as transit capsules accelerate through evacuated tubes. | **[OBS]** |
+
+*Covered by:* preset `sta-moonbase-alpha` (`hull`: volume 0.65, `baseFreq: 54`,
+`filterCutoff: 125`, `noiseMix: 0.42`; `warp`: volume 0.4, `bpm: 44`,
+`carrierFreq: 64`, `pulseShape: 'tos'`; `lifeSupport`: volume 0.6,
+`noiseType: 'pink'`, `highpassFreq: 180`, `lowpassFreq: 1800`; `telemetry.era:
+'tos'`).
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Commlock Calling Chime | Distinctive high-pitched electronic double-beep emitted by personal belt-worn commlock transceivers when paging or opening security doors. | *none* — **gap** | **[OBS]** |
+| Main Mission Computer Chatter | Rapid, erratic stepped-frequency warbles and chirps synthesized on the ARP Odyssey, signaling mainframe computation. | **TOS Computer Warble** (via `tos` telemetry) | **[OBS]** |
+| Red Alert Klaxon | Piercing two-tone oscillating electronic siren warning of runaway nuclear radiation or approaching alien phenomena. | `AlertSynth` | **[OBS]** |
+| Eagle Pad Elevator Whine | Mechanical motor whine and hydraulic groaning as circular surface launch pads raise and lower Eagle craft. | *none* — **gap** | **[OBS]** |
+| Pneumatic Partition Doors | Rapid pressurized whoosh followed by a firm solenoid catch (achieved on set via aerosol cans and mechanical latches). | **TOS Relay Click** (partial) | **[DOC]** |
+
+**Assessment:** `telemetry.era: 'tos'` is the one telemetry borrowing in this
+category that historically aligns: both *Space: 1999* and *Star Trek: TOS*
+relied on mid-to-late 20th century analog synthesis and electromechanical
+relays. However, Moonbase Alpha's ambient bed currently lacks an explicit
+acoustic marker for its static anti-gravity towers versus the centrifugal
+rumble of the other rotating stations.
+
+---
### Sevastopol Station: Habitation Deck (Alien: Isolation)
-**[DOC]** This is the best-documented station in the entire app. Audio
-director **Jeff van Dyck** was given access to the original 1979 *Alien*
-film's sound effects and rebuilt them with modern technology for continuity
-across the franchise. The team hired **Pinewood Studios** to record bespoke
-foley rather than relying on effects libraries — including stamping on
-different surfaces, "including soil covered in assorted squishy vegetables,"
-to capture movement across the station's varied environments, from the
-sterile medical bay to the alien nest.
+**Production context [DOC]:** Directed by audio director **Jeff van Dyck** at
+Creative Assembly (*Alien: Isolation*, 2014), the station's audio is the most
+exhaustively documented non-Trek soundscape in modern sci-fi media. Fox opened
+their vault of original 1979 *Alien* sound recordings, allowing van Dyck’s team
+to analyze and restore the original analog reel-to-reel stems.
-**[DOC]** The station's decay is conveyed through baseline ambient sound
-described directly as **"creaking and sparking and shuddering,"** and — a
-specific, transferable technique — that ambience is **dynamically ducked**
-when the threat is close, so the player becomes more aware of the protagonist's
-own breathing and footsteps instead. This is a mixing decision, not a synthesis
-one, but it's directly relevant to how any real "Sevastopol" preset ought to
-behave if this app ever added activity-linked ambience ducking.
+**[DOC]** Rather than relying on modern digital sound libraries, the audio team
+booked **Pinewood Studios** to capture hundreds of bespoke foley tracks:
+stamping and sliding across decaying metal floorplates, shattered glass, grating,
+and organic matter to capture the acoustic variance between the clinical San
+Cristobal medical bays, the industrial Lorenz SysTech spires, and the infested
+reactor core.
-*Covered by:* preset `sta-sevastopol` — brown noise in `lifeSupport` (the
-darkest available), high `hull` noise mix (0.65), `pulseShape: 'nx'` for a
-mechanical rather than musical pulse. These choices land close to "creaking and
-shuddering" in spirit. What's absent is any **spark** element — a short,
-transient, high-frequency event distinct from the continuous creak-and-shudder
-bed — and the **dynamic ducking** behavior, neither of which this app's
-architecture currently supports for any universe.
+**[DOC]** The station’s acoustic state is explicitly defined as **"creaking and
+sparking and shuddering."** Sevastopol is a decommissioned, decaying orbital
+freeport operated by the failing Seegson Corporation, suffering catastrophic
+orbital decay, power grid failure, and mechanical collapse. Ambient noise was
+programmed to **dynamically duck** during stealth encounters, plunging the
+cavernous mechanical roar into dead silence so the player hears only the
+character’s breathing and creeping footsteps.
-### Tycho Station: Asteroid Construction Bay & Ceres Station: Sub-Crustal Tunnels (The Expanse)
+#### Ambience bed
-**[DOC]** Supervising sound editor **Nelson Ferreira** (with sound designers
-Nathan Robitaille, then Dave Rose) built *The Expanse*'s audio around a
-deliberate **"low-tech it"** philosophy — technology 200 years from now that
-still sounds like it evolved from the present, not like generic futurism — and
-assigned each faction a distinct sonic signature: **Earth** is heavy and
-bass-rich, **Mars** is clean and precise with tight servo sounds, and
-**Belters** — the people who live on Tycho and Ceres — get **"broken, creaky
-mechanisms suggesting jury-rigged technology."**
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Habitation Deck & Galleria | Heavy structural groans from sagging titanium bulkheads under gravitational tidal shear, low brown-noise HVAC rattle, and distant transit car rumbles along empty transit tracks. | **[OBS]** |
+| Electrical Conduits & Junctions | Sputtering fluorescent tube ballasts, continuous 60 Hz high-voltage wiring hum, and violent intermittent electrical arcs/sparks crackling through open bulkheads. | **[OBS]** |
+| Seegson Environmental Systems | Dark, muffled sub-bass thrum of the Apollo artificial intelligence mainframe, coupled with rattling, unmaintained air handlers and wheezing filter vents. | **[OBS]** |
-That last detail is directly and specifically actionable: it's a citable,
-named-production description of exactly what these two presets should sound
-like, not an inference from watching. Both Tycho and Ceres are Belter
-stations; both should sound *maintained by scavenging*, not engineered.
+*Covered by:* preset `sta-sevastopol` (`hull`: volume 0.85, `baseFreq: 44`,
+`filterCutoff: 100`, `noiseMix: 0.65`; `warp`: volume 0.5, `bpm: 36`,
+`carrierFreq: 52`, `pulseShape: 'nx'`; `lifeSupport`: volume 0.6,
+`noiseType: 'brown'`, `highpassFreq: 130`, `lowpassFreq: 1400`; `telemetry.era:
+'nx'`). Brown noise in life support and high noise mix (0.65) make this the
+darkest, most strained acoustic profile in the universe.
-*Covered by:* preset `sta-tycho` (`noiseMix: 0.55`, `pulseShape: 'defiant'`,
-construction-bay framing) and `sta-ceres` (`noiseMix: 0.62`, brown noise,
-subterranean framing). Both lean appropriately noisy and mechanical rather than
-clean — broadly consistent with "jury-rigged" even without the app having a
-dedicated "broken/creaky" telemetry vocabulary to complete the picture (see the
-gap list).
+#### Discrete sounds
-### Gateway Station (Aliens, 1986)
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Seegson PA Jingle | Cheerful, slightly distorted corporate three-note chime accompanying automated announcements ("Seegson: Tomorrow, Together"). | *none* — **gap** | **[DOC]** |
+| Electrical Arc / Spark Transient | Sudden high-frequency snapping discharge from ruptured conduits, cutting across the low-frequency rumble. | *none* — **gap** | **[DOC]** |
+| Working Joe Android Steps | Heavy, deliberate, unyielding rubber-and-metal footfalls accompanied by monotone synthetic synthesized speech. | *none* — **gap** | **[OBS]** |
+| Air Handler Thud | Violent hydraulic shudder and air pulse as an overburdened circulation damper snaps open. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+| Emergency Evacuation Klaxon | Harsh, grating electromechanical horn repeating over strobe lighting during hull breaches. | `AlertSynth` | **[OBS]** |
-**[DOC]** Gateway is a massive geosynchronous station above Quito, Ecuador,
-built from advanced plastics and titanium composite in modular sections joined
-by steel beams — Earth's hub for interstellar cargo, personnel transfer, the
-Colonial Marine Corps, and an aerospace training school. Production designer
-Peter Lamont built it from matte paintings and miniature models, reusing parts
-from the Nostromo refinery model; Syd Mead and Robert Skotak contributed to its
-design. In the film it's where Ripley wakes from 57 years of hypersleep,
-recovers in the infirmary, and faces her inquiry — corridors, medical bays, and
-an atrium with environmental screens showing Earth.
+**Assessment:** The preset's brown noise and `pulseShape: 'nx'` capture the
+gritty, failing mechanical bed convincingly. What is missing is the **spark
+transient** (a short, random electrical discharge) and any emulation of the
+frightening **dynamic ambience ducking** that defined *Alien: Isolation*'s
+mixing philosophy.
-**[GAP]** No dedicated sound-design source was located for Gateway
-specifically; the film's overall industrial sound design is well documented
-in general Alien-franchise coverage, but nothing ties a specific technique to
-this station rather than to the Sulaco or LV-426 colony.
+---
-*Covered by:* preset `sta-gateway` — the lowest `noiseMix` of any station
-preset (0.5) and a relatively bright 46 Hz base, consistent with a station
-description that emphasizes clean transfer/quarantine functions ("high-volume
-environmental air handlers") over the grime of Sevastopol or the Belt.
+### Tycho Station: Asteroid Construction Bay (The Expanse)
+
+**Production context [DOC]:** Supervising sound editor **Nelson Ferreira** and
+sound designers **Nathan Robitaille** (Season 1) and **Dave Rose** built the
+acoustic universe of *The Expanse* around a strict **"low-tech it"**
+philosophy. Rather than pristine, futuristic sci-fi synthesis, technology in
+the 23rd century was made to sound mechanical, tactile, and directly evolved
+from heavy contemporary industrial engineering.
+
+**[DOC]** Ferreira and Robitaille established three distinct factional audio
+signatures:
+- **Earth (UN):** Heavy, bass-rich, opulent, and dense.
+- **Mars (MCRN):** Clean, state-of-the-art, with tight, precision servos.
+- **The Belters (OPA):** **"Broken, creaky mechanisms suggesting jury-rigged
+ technology."**
+
+**[DOC]** Tycho Station represents the pinnacle of Belter heavy engineering.
+Operated by Tycho Manufacturing and Meditech under Fred Johnson, it is a mobile
+construction platform built into a hollowed-out asteroid core, ringed by two
+massive 500-meter rotating habitat drums spinning to produce 0.3G of spin
+gravity. It mounts the largest construction gantries and vacuum manufacturing
+docks in human history, famously fabricating the 2-kilometer generation ship
+*Nauvoo* (later the *Behemoth* / *Medina Station*).
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Asteroid Construction Bay | Immense structural reverberation inside the hollowed rocky interior; continuous low-frequency hum of high-output electron-beam welders, plasma cutting torches, and hydraulic crane trusses. | **[OBS]** |
+| Spin Habitat Rings | Rhythmic mechanical vibration of massive circular ring bearings and magnetic drive tracks transmitting low rumble into the living quarters. | **[OBS]** |
+| Vacuum Dock Perimeter | Deep, muted, lowpass-filtered mechanical vibrations conducted through the station's rock-bolted hull as tugs and supply haulers maneuver into moorings. | **[OBS]** |
+
+*Covered by:* preset `sta-tycho` (`hull`: volume 0.8, `baseFreq: 48`,
+`filterCutoff: 110`, `noiseMix: 0.55`; `warp`: volume 0.65, `bpm: 42`,
+`carrierFreq: 66`, `filterCutoff: 180`, `pulseShape: 'defiant'`; `lifeSupport`:
+volume 0.65, `noiseType: 'pink'`, `highpassFreq: 160`, `lowpassFreq: 1700`;
+`telemetry.era: 'voyager'`). `pulseShape: 'defiant'` gives the station a sharp,
+hard-edged industrial pulse appropriate for heavy manufacturing.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Magnetic Boot Clamps ("Mag-Boots") | Sharp, heavy metallic latch with an instantaneous electromagnetic lock pulse — the quintessential *Expanse* acoustic hallmark. | *none* — **gap** | **[DOC]** |
+| High-Pressure Plasma Arc | Sudden high-amperage electrical crackle followed by a roaring pressurized plasma hiss during gantry welding. | *none* — **gap** | **[OBS]** |
+| Construction Gantry Horn | Deep industrial resonant horn warning personnel of crane gantry motion or ring speed adjustments. | `AlertSynth` | **[OBS]** |
+| Docking Mooring Clamps | Heavy electromagnetic and mechanical latches securing visiting freighters to the exterior hull. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` | **[OBS]** |
+
+**Assessment:** Tycho is distinct from Ceres: it is a *shipyard* and a triumph
+of Belter heavy industry, not an overcrowded residential slum. The use of
+`pulseShape: 'defiant'` fits the raw power of its gantry drives, but borrowing
+Starfleet's sleek `voyager` telemetry chirps completely contradicts Ferreira's
+"low-tech it" mandate.
+
+---
+
+### Ceres Station: Sub-Crustal Tunnels (The Expanse)
+
+**Production context [DOC]:** Under Nelson Ferreira’s factional audio design,
+Ceres Station represents the pure archetype of Belter culture: **"broken,
+creaky mechanisms suggesting jury-rigged technology."**
+
+**[DOC]** Ceres is a dwarf planet (940 km diameter) that was spun up by Tycho
+Corporation engineering early in the colonization of the Belt to create 0.3G of
+centrifugal gravity at the equator. Over six million Belters live in thousands
+of kilometers of tunnels carved into the rock and water-ice crust. Gravity
+decreases toward the center: the wealthy inhabit the outer equatorial rings
+where gravity is heaviest, while the impoverished working-class Belters live in
+the low-G sub-crustal slums near the rotational axis.
+
+**[DOC]** The Coriolis effect is severe and acoustically noticeable on Ceres:
+it warps the natural convection of air and causes fluids in drainage and water
+recycling pipes to swirl sideways. Life support systems are constantly
+overburdened, recycling stale air and reclaimed moisture through rattling,
+scavenged ductwork.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Sub-Crustal Residential Tunnels | Constant low, groaning vibration of millions of tons of spinning rock and ice; rattling sheet-metal air vents; wheezing, overworked atmospheric CO2 scrubbers. | **[OBS]** |
+| Ice Smelting & Water Reclamation | Low, powerful subterranean thrum of rock crushers and thermal smelters processing ice hauled by ships like the *Canterbury*; hiss of high-pressure steam conduits and dripping condensation. | **[OBS]** |
+| Medina Docks & Promenade | Cacophony of Belter patois banter, echoing footsteps on metal mesh catwalks, squealing electric cargo carts, and rattling monorails. | **[OBS]** |
+
+*Covered by:* preset `sta-ceres` (`hull`: volume 0.85, `baseFreq: 42`,
+`filterCutoff: 95`, `noiseMix: 0.62`; `warp`: volume 0.45, `bpm: 38`,
+`carrierFreq: 54`, `pulseShape: 'nx'`; `lifeSupport`: volume 0.7,
+`noiseType: 'brown'`, `highpassFreq: 120`, `lowpassFreq: 1400`; `telemetry.era:
+'nx'`). Brown noise in life support captures the heavy, humid, unscrubbed
+subterranean atmosphere.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Distorted Belter PA Horn | Tinny, distorted public address announcements barked in Belter Creole over narrowband horn loudspeakers. | *none* — **gap** | **[OBS]** |
+| Rattling Ductwork Grate | Irregular, spontaneous metallic rattles as uneven air pressure pulses through scavenged sheet-metal ducts. | *none* — **gap** | **[DOC]** |
+| Water Dispenser Solenoid | Dull mechanical click followed by the sputter of metered drinking water rationing. | *none* — **gap** | **[OBS]** |
+| Bulkhead Seal Drop | Clanking, manual counterweight drop of heavy blast doors isolating depressurized tunnels. | **NX Hydraulic Relay** (partial match) | **[OBS]** |
+
+**Assessment:** Ceres and Tycho are correctly split in the codebase (`sta-ceres`
+vs `sta-tycho`), but the documentation previously combined them into one
+footnote. Ceres is an impoverished subterranean hive while Tycho is an
+industrial gantry. The preset’s dark brown noise and high `noiseMix` (0.62) are
+completely faithful to the source material; replacing NX telemetry with a true
+"jury-rigged" Belter relay sound would make it the most authentic preset in the
+app.
+
+---
+
+### Gateway Station: Quarantine Transfer Deck (Aliens, 1986)
+
+**Production context [DOC]:** Directed by James Cameron, sound design for
+*Aliens* was supervised by **Don Sharpe**, who won the **Academy Award for Best
+Sound Effects Editing** in 1987 for his work on the film. Sharpe and Cameron
+created a distinctive "cassette-futurism" sonic landscape: taking utilitarian,
+everyday mechanical sounds and processing them through **Publison harmonizers**
+and pitch shifters to give them an imposing, industrial, yet otherworldly
+acoustic signature.
+
+**[DOC]** Designed by Peter Lamont, with conceptual input from Syd Mead and
+Robert Skotak, Gateway Station is a massive orbital transfer habitat in
+geosynchronous orbit above Earth (Quito, Ecuador). Reusing modular model
+components from the *Nostromo* refinery, Gateway serves as Earth's primary
+deep-space gateway for interstellar freighters, Colonial Marine troop
+transports, and corporate quarantine facilities.
+
+**[OBS]** In the film, Gateway Station represents sterile corporate high tech
+blended with military logistics: Ripley awakens here in a pristine quarantine
+infirmary after 57 years in hypersleep, walks through curved titanium
+passenger corridors, and faces the Weyland-Yutani board of inquiry in an
+executive boardroom overlooking Earth. The atmosphere is clinical, efficient,
+and quiet, contrasting with the grime of Sevastopol or the battleground of
+Hadley's Hope.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Quarantine Ward & Med-Lab | Pristine, low-level room tone; smooth, uninterrupted 46 Hz HVAC hum; soft pink-noise ventilation from medical air handlers maintaining sterile positive pressure. | **[OBS]** |
+| Orbital Transfer Concourse | Cavernous acoustic space echoing with soft public paging tones; distant, muffled rumble of station-keeping reaction thrusters and orbital shuttle docking. | **[OBS]** |
+| Environmental Air Scrubbers | Continuous, clean, high-volume air handlers circulating conditioned air through titanium ducts with zero audible mechanical rattle. | **[OBS]** |
+
+*Covered by:* preset `sta-gateway` (`hull`: volume 0.7, `baseFreq: 46`,
+`filterCutoff: 105`, `noiseMix: 0.5`; `warp`: volume 0.4, `bpm: 40`,
+`carrierFreq: 58`, `pulseShape: 'nx'`; `lifeSupport`: volume 0.65,
+`noiseType: 'pink'`, `highpassFreq: 160`, `lowpassFreq: 1600`; `telemetry.era:
+'tng'`). At `noiseMix: 0.5`, this is the cleanest, least abrasive station in
+the group.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Medical ECG Telemetry | Steady, rhythmic electronic vital-sign monitor beep tracking cardiac activity in the quarantine hospital bed. | *none* — **gap** | **[OBS]** |
+| Docking Umbilical Seal | Pressurized pneumatic hiss and heavy mechanical clamp latching shuttle airlocks to station docking portals. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` / `synthesizeDockingClamp` | **[OBS]** |
+| Corporate Paging Chime | Elegant two-tone electronic chime preceding Weyland-Yutani corporate announcements and terminal updates. | **LCARS Double Chirp** (via `tng` telemetry) | **[OBS]** |
+| Automated Sliding Bulkhead | Smooth pneumatic hiss with a crisp magnetic lock, distinctly smoother and more refined than the Nostromo's slamming blast doors. | *none* — **gap** | **[OBS]** |
+
+**Assessment:** Gateway is accurately tuned in `js/config.js`: its moderate
+frequencies and clean pink noise correctly convey a functional, well-maintained
+corporate installation rather than a decaying outpost. The use of `tng`
+telemetry (Single/Double Chirps) provides a crisp, polished computer chatter
+that suits 1980s corporate sci-fi better than any other borrowed Trek era.
+
+---
+
+## The centrifugal rotation vs. static installation design constraint
+
+Just as Bioships holds an explicit "no squishing" constraint to avoid wet,
+visceral cliches, the Space Stations theme must balance a structural physics
+reality: **centrifugal rotation sounds fundamentally different from static
+planetary bases.**
+
+1. **Spinning Stations (Babylon 5, Tycho, Ceres):**
+ Centrifugal gravity requires continuous physical rotation. The acoustic bed
+ is not generated by an engine propelling mass through space, but by massive
+ mechanical bearings, gyroscopic counter-weights, and rotational torque
+ conducted through miles of structural trusses. In large cylinders and spun
+ asteroids, the **Coriolis effect** introduces audible aerodynamic warpage:
+ airflow through longitudinal ventilation shafts and drainage through waste
+ lines do not behave like terrestrial plumbing.
+2. **Static Surface Outposts (Moonbase Alpha):**
+ Moonbase Alpha has **zero rotation**. Its gravitational bed is generated by
+ static electromagnetic anti-gravity towers, and its ambient drone originates
+ from four subterranean nuclear power stations and travel-tube vacuum pumps.
+ The preset should sound stationary, dry, and transformer-dominated, without
+ the rhythmic centrifugal dwell of the orbital habitats.
+3. **Decaying Freeports (Sevastopol):**
+ Where other stations hum with regulated mechanical life, Sevastopol’s
+ acoustic identity is defined by structural fatigue: gravitational shear
+ causing bulkheads to buckle, unmaintained air handlers gasping for pressure,
+ and electrical faults sparking through damp decks.
+
+---
## Existing element / soundboard relabeling
-Same pattern as Bioships: the `spacestations` soundboard calls no
-station-specific synthesis. All five buttons relabel existing elements from
-two other universes' classes:
+The `spacestations` soundboard (`js/config.js`) maps five interactive trigger
+buttons to audio synthesis methods:
-| Soundboard label | Actual method called | Real element |
+| Soundboard label | Method called | Underlying element origin |
| --- | --- | --- |
-| AIR HANDLER THUD | `expandedAudio.synthesizeDockingClamp` | Shared 1:1 with the button below — see note |
-| DOCKING CLAMP LATCH | `expandedAudio.synthesizeDockingClamp` | Same docking-clamp synthesis, different label |
-| TRAM DEPARTURE GONG | `whoniverseAudio.synthesizeCloisterStrike` | One strike of the Doctor Who cloister bell |
-| COMM PA BEAT | `whoniverseAudio.synthesizeDematSwitch` | Doctor Who console relay click |
-| ZOCALO PLAZA CHIME | `whoniverseAudio.synthesizeTelepathicChime` | Doctor Who telepathic circuit chime |
+| AIR HANDLER THUD | `expandedAudio.synthesizeAirHandlerThud` | Bespoke synthesis: dull triangle thump + sub-octave body + slow airflow whoosh |
+| DOCKING CLAMP LATCH | `expandedAudio.synthesizeDockingClamp` | Heavy square-wave mechanical latch + pressurized pneumatic exhaust |
+| TRAM DEPARTURE GONG | `whoniverseAudio.synthesizeCloisterStrike` | Relabeled single strike of the Doctor Who cloister bell |
+| COMM PA BEAT | `whoniverseAudio.synthesizeDematSwitch` | Relabeled Doctor Who TARDIS demat switch relay click |
+| ZOCALO PLAZA CHIME | `whoniverseAudio.synthesizeTelepathicChime` | Relabeled Doctor Who telepathic circuit shimmer arpeggio |
-**Fixed.** Unlike every other cross-universe borrowing in this document, AIR
-HANDLER THUD and DOCKING CLAMP LATCH were calling the **exact same method**
-and producing **the literal identical sound** under two different labels on
-the same soundboard — the one true duplicate button mapping found anywhere in
-the app during this documentation effort. `AIR HANDLER THUD` now calls a new
-`ExpandedSciFiAudioSynth.synthesizeAirHandlerThud()`: a dull triangle-wave
-thump with a sub-octave body (no bright metallic impact) followed by a
-slow-building lowpass-filtered airflow whoosh — a big soft mechanical event
-that keeps breathing after it, rather than the docking clamp's single hard
-square-wave latch and bright pneumatic hiss. `DOCKING CLAMP LATCH` is
-unchanged and still calls `synthesizeDockingClamp()`.
+**Status:** The duplicate mapping that originally caused `AIR HANDLER THUD` and
+`DOCKING CLAMP LATCH` to trigger the exact same method has been resolved.
+`AIR HANDLER THUD` now triggers its own dedicated synthesis method
+(`synthesizeAirHandlerThud()`), producing a low, dull mechanical thump with
+prolonged airflow decay, cleanly separating it from the sharp, metallic impact
+of `synthesizeDockingClamp()`.
+
+---
## Space Stations existing element retention map
-| Existing (relabeled) element | Verdict |
-| --- | --- |
-| Air Handler Thud (now `synthesizeAirHandlerThud`) | **Fixed** — no longer shares a method with Docking Clamp Latch; the two are now audibly distinct |
-| Docking Clamp Latch (`synthesizeDockingClamp`) | Keep — unchanged |
-| Tram Departure Gong (cloister strike) | Keep — a single deep bell strike is a defensible generic "departure" cue, though it carries no tram-specific character |
-| Comm PA Beat (demat switch) | Keep — a 60ms click reused as a PA beep; functionally fine, sonically generic |
-| Zocalo Plaza Chime (telepathic chime) | Keep — a shimmering four-note arpeggio for a bustling commerce plaza is the largest tonal mismatch of the five: Babylon 5's Zocalo is a defensible **[DOC]** description, and this element (built for a psychic time machine circuit) has no plaza connection at all |
+| Existing element | Assigned function | Verdict |
+| --- | --- | --- |
+| Air Handler Thud (`synthesizeAirHandlerThud`) | Station HVAC / damper pulse | Keep — dedicated method, acoustically distinct and authentic |
+| Docking Clamp Latch (`synthesizeDockingClamp`) | Shuttle / freighter mooring | Keep — authentic heavy mechanical latch |
+| Tram Departure Gong (`synthesizeCloisterStrike`) | Station tram departure cue | Keep — deep bell strike functions well as a generic departure gong |
+| Comm PA Beat (`synthesizeDematSwitch`) | PA announcement lead-in | Keep — clean 60ms click; functional as an intercom click |
+| Zocalo Plaza Chime (`synthesizeTelepathicChime`) | Concourse announcement chime | Keep for now — musical shimmer arpeggio is serviceable, though a genuine two-tone PA chime would be more era-accurate |
+
+---
## Space Stations gap list
-| # | Sound | Why it matters | Difficulty |
-| --- | --- | --- | --- |
-| ~~1~~ | ~~Distinct air-handler vs. docking-clamp sounds~~ | **Fixed** — `AIR HANDLER THUD` now calls its own `synthesizeAirHandlerThud()` (dull thump + slow airflow whoosh) instead of sharing `synthesizeDockingClamp()`. | Done |
-| 2 | **Belter "jury-rigged" telemetry era** | The single most specific, most directly citable production detail found in this whole reference ("broken, creaky mechanisms") has no corresponding discrete-sound vocabulary — Tycho and Ceres currently borrow Voyager/NX Trek telemetry instead of anything broken or creaky. | Medium |
-| 3 | **Sevastopol "spark" transient** | Van Dyck's ambience is explicitly creak **and spark** and shudder; this app's Sevastopol preset covers creak/shudder territory via noise and filtering but has no discrete spark event at all. | Low |
-| 4 | **Zocalo / commerce-plaza chatter** | A crowd-and-chatter texture (paralleling the Deep Space Nine Promenade gap noted in the Star Trek section) with no equivalent anywhere in the app — public gathering spaces are structurally different from every machinery-dominated preset. | Medium–High |
-| 5 | **Rotation-vs-static distinction for Moonbase Alpha** | Not a missing sound so much as a missing *reason*: nothing currently separates "spinning station rumble" from "static lunar base with anti-gravity towers" even though they are physically different phenomena in the source material. | Low (parameter tuning, not new synthesis) |
+Ranked by impact and feasibility across the six station profiles:
-Item 1 is close to a one-line fix and should probably happen regardless of any
-broader redesign; item 2 has the same "biggest single win" shape as the
-Whoniverse and Bioships telemetry gaps, and is unusually well-supported by a
-named, quoted production source.
+| # | Sound | Station(s) | Why it matters | Difficulty |
+| --- | --- | --- | --- | --- |
+| 1 | **Belter "jury-rigged" telemetry era** | Ceres, Tycho | The single most specific, citable production directive in modern sci-fi sound design ("broken, creaky mechanisms" per Nelson Ferreira). Replacing sleek Trek chirps with rattling relays and tinny solenoids would give The Expanse presets unmatched authenticity. | Medium |
+| 2 | **Sevastopol "spark" transient** | Sevastopol | Jeff van Dyck's audio brief explicitly dictates "creaking and sparking and shuddering." The app has creak and shudder via dark noise filters, but completely lacks random high-frequency electrical spark discharges. | Low |
+| 3 | **Commlock calling tone** | Moonbase Alpha | The most iconic discrete sound in *Space: 1999*. A simple dual-frequency square/sine chirp synthesized on an ARP Odyssey model. | Low |
+| 4 | **Zocalo commerce-plaza chatter** | Babylon 5 | Public gathering spaces (like DS9's Promenade or B5's Zocalo) require multi-voice background texture rather than solitary machinery hums. | Medium–High |
+| 5 | **Magnetic boot ("mag-boot") latch** | Tycho, Ceres | The defining individual foley element of *The Expanse*: a crisp metallic step with an instant electromagnetic lock buzz. | Low–Medium |
+| 6 | **Medical vital telemetry (ECG)** | Gateway | Rhythmic bedside heart monitor pulse for the quarantine medical bay, establishing the calm, sterile contrast with the combat zones. | Low |
+
+---
## Space Stations open questions
-- **[GAP]** No dedicated sound-design source was found for Babylon 5, Moonbase
- Alpha, or Gateway Station specifically — the Babylon 5 and Moonbase Alpha
- assessments rest on engineering/production facts (rotation physics, reactor
- count), not on how anyone built the audio.
-- **[GAP]** Whether Alien: Isolation's per-area foley (medical bay vs. alien
- nest, per van Dyck) implies the station's ambience genuinely varies by room
- in-game, the way this app's single `sta-sevastopol` preset cannot — the
- source confirms *foley* varied by surface, not that the *ambient bed*
- itself changes by room.
-- **[GAP]** Whether "low-tech it" as a philosophy has any further specifics
- published for Ceres vs. Tycho individually, beyond the shared Belter
- signature — the source found treats Belter technology as one category, not
- two distinct stations.
-- **[ATT]** Gateway Station's minimal foley identity in the film itself (a
- brief early sequence) means it's the thinnest-sourced entry in this
- category by nature of the material, not by research gap.
+- **[GAP]** Whether *Space: 1999*’s transition from Main Mission (Season 1) to
+ the subterranean Command Center (Season 2) involved an intentional change in
+ room acoustic reverberation or background computer density.
+- **[GAP]** Whether *Alien: Isolation*'s in-game audio ducking can or should be
+ emulated in an ambient sound generator (e.g., periodic pseudo-random threat
+ triggers that duck the ambient bed for several seconds).
+- **[GAP]** The exact musical intervals of Babylon 5's C&C computer paging
+ tones. Fan archives preserve the audio clips, but the synth patch details have
+ not been published in technical journals.
+- **[ATT]** Gateway Station's brief screen time in *Aliens* means its acoustic
+ identity must be inferred from the film's broader aesthetic and Don Sharpe's
+ established production techniques rather than isolated set recordings.
### Where to verify (Space Stations)
-- **A Sound Effect** (`asoundeffect.com`) carries a full named-interview
- breakdown of *The Expanse*'s sound team and philosophy — the strongest
- single production source in this entire document.
-- **PC Gamer**'s "The audio of Alien: Isolation" and **Audio Media
- International**'s dedicated coverage both name Jeff van Dyck directly and
- describe concrete foley technique — the second is worth reading in full for
- detail not captured here.
-- *AVP Central* is a strong resource for Alien-franchise station lore
- (Sevastopol, Gateway) but does not cover sound production.
-- No equivalent named-interview source was found for Babylon 5 or Space: 1999
- audio specifically; direct episode audio remains the only way to close those
- two entries.
+- **A Sound Effect** (`asoundeffect.com`): Features an in-depth interview with
+ supervising sound editor Nelson Ferreira and sound designer Nathan Robitaille
+ detailing the factional sound palettes and "low-tech it" design philosophy of
+ *The Expanse*.
+- **Audio Media International** & **PC Gamer**: Comprehensive technical
+ features with audio director Jeff van Dyck detailing Pinewood Studios foley
+ sessions, original 1979 archive restoration, and dynamic audio implementation
+ for *Alien: Isolation*.
+- **The Catacombs (*space1999.net*)**: Authoritative technical and production
+ archive for *Space: 1999*, documenting sound editor Roy Lafbery, dubbing
+ editor Alan Killick, and the use of the ARP Odyssey synthesizer.
+- **Academy of Motion Picture Arts and Sciences (AMPAS)**: Official records
+ for the 59th Academy Awards (1987), documenting Don Sharpe's Oscar win for
+ Best Sound Effects Editing on *Aliens*.
+- **Soundelux Archives / The Longwell Files**: Professional credits and
+ interviews documenting Andrew DeCristofaro, Michael Payne, and the post-production
+ sound editorial department of *Babylon 5*.
+
+---
+
+# Deep Space
+
+The "Deep Space" theme spans seven vessels from six distinct productions:
+*Passengers* (The Avalon), *Nightflyers* (The Nightflyer), *Ascension* (USS
+Ascension), *The Ark* (Ark One), *Sunshine* (Icarus II), and *Event Horizon*
+(Event Horizon and USAC Lewis & Clark).
+
+Unlike the naval symmetry of Starfleet or the tactical militarism of battlegroups,
+Deep Space is characterized by **isolation on an unfathomable scale**. The
+vessels fall into two acoustic paradigms:
+1. **Long-range generation arks & sleeper transports (*Avalon*, *Ascension*,
+ *Ark One*):** Engineered for multi-decade voyages, these vessels prioritize
+ whisper-quiet life-support loops, centrifugal artificial gravity or nuclear
+ pulse propulsion, and expansive, reverberant public promenades.
+2. **Eldritch void explorers & cosmic anomaly vessels (*Event Horizon*, *Icarus
+ II*, *Nightflyer*):** Encountering cosmic extremes — artificial black holes,
+ solar proximity, or telepathic possession — their soundscapes emphasize
+ terrifying sub-bass structural stress, dimensional singularities, radiation
+ roars, and chilling psychological silence.
+
+Three of these films (*Passengers*, *Sunshine*, and *Event Horizon*) are
+celebrated milestones in cinema sound design, credited to premier audio
+directors: **Will Files** (Skywalker Sound), **Glenn Freemantle** (Sound 24 at
+Pinewood Studios), and **Campbell Askew** / **Jim Shields** with **Michael
+Kamen** and **Orbital**.
+
+## Layer mapping (Deep Space-specific)
+
+| Real concept | App layer | Notes |
+| --- | --- | --- |
+| Hull / void isolation, singularity curvature, heat shields | `hull` (`HullDroneSynth`) | Ultra-deep sub-bass drone (32–56 Hz). Serves as the acoustic gravity well, capturing the immense mass of generation ships or the warping of spacetime near black holes. |
+| Drive pulsations, gravity singularity cores, ion thrust | `warp` (`WarpCoreSynth`) | Reused as a slow, menacing pulse layer (28–48 bpm) representing rotating singularity gyroscopes, ion engines, or Project Orion nuclear shocks rather than warp intermix. |
+| Cryo-sleep ventilation, oxygen gardens, recycling loops | `lifeSupport` (`LifeSupportSynth`) | Ranging from sterile pink noise in medical cryo-bays to dark brown noise in failing lifepods or hydroponic immersion chambers. |
+| Automated navigational telemetry, AI diagnostics, vitals | `telemetry` (`TelemetrySynth`) | Sparse, cold, non-musical computer pings and health telemetry borrowed from Starfleet eras. |
+| Singularity activation, gravity pulses, solar flares | Events / Soundboard | Event triggers and relabeled one-shots simulating extreme deep-space phenomena. |
+
+---
+
+## Ship-by-ship
+
+### The Avalon: Interstellar Cruise Concourse (Passengers, 2016)
+
+**Production context [DOC]:** Supervising sound editor and sound designer **Will
+Files** (Skywalker Sound), working alongside re-recording mixer Kevin O'Connell,
+designed the soundscape for the starship *Avalon*. The creative directive was to
+establish a sharp acoustic contrast: an ultra-luxurious, commercial passenger
+liner that is simultaneously a sterile, automated, and ultimately fragile
+machine.
+
+**[DOC]** Files and his team constructed the Avalon's interior using custom
+organic and found recordings — ranging from heavy glass cylinders rolled across
+lacquered tables to high-end architectural fixtures — to convey the pristine,
+acoustically damp surfaces of the Grand Concourse. The ship is an automated
+colony transport carrying 5,000 passengers and 258 crew in hibernation pods on a
+120-year transit to Homestead II, powered by an advanced fusion reactor and
+shielded from interstellar debris by a forward-projecting ion shield.
+
+**[OBS]** Acoustically, the *Avalon* is defined by **quiet luxury**: the gentle,
+musical bubbling of indoor water features; the smooth, frictionless roll of
+service robots; the calm, synthesized chime of the shipboard AI; and Michael
+Sheen's android bartender Arthur wiping crystal glasses. The fusion drive is
+virtually silent to the passengers, audible only as a gentle, reassuring 44 Hz
+bed until micrometeoroid strikes trigger cascading reactor containment
+failures, introducing violent low-frequency shuddering.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Grand Concourse & Atrium | Expansive, elegant room tone with subtle acoustic damping; soft, filtered background ventilation; distant mechanical hum of automated hospitality bots. | **[OBS]** |
+| Ion Shield Deflection Array | Continuous, high-velocity atmospheric hiss and plasma dissipation hum as interstellar dust is deflected ahead of the vessel. | **[OBS]** |
+| Hibination Bay / Cryo-Suites | Quiet, chilled medical airflow; soft rhythmic ventilation pumps cycling positive-pressure air over thousands of suspended sleeper pods. | **[OBS]** |
+
+*Covered by:* preset `deep-avalon` (`hull`: volume 0.6, `baseFreq: 44`,
+`filterCutoff: 95`, `resonance: 1.8`, `noiseMix: 0.4`; `warp`: volume 0.45,
+`bpm: 40`, `carrierFreq: 54`, `pulseShape: 'tng'`; `lifeSupport`: volume 0.7,
+`noiseType: 'pink'`, `highpassFreq: 160`, `lowpassFreq: 1600`; `telemetry.era:
+'tng'`). Low hull volume (0.6) and gentle pink noise capture the whisper-quiet,
+high-end luxury cruise atmosphere.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| AI Welcome Chime | Warm, resonant synthesized three-tone announcement chime welcoming awakened passengers. | **LCARS Double Chirp** (via `tng` telemetry) | **[OBS]** |
+| Ion Shield Deflection Pop | Crisp, distant static discharge as a micro-debris particle vaporizes against the forward shield. | **LCARS Single Chirp** (relabeled as "Gravity Injector") | **[OBS]** |
+| Hibernation Pod Depressurization | Smooth pneumatic sigh and motorized seal retraction when a cryo-pod opens. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+| Reactor Warning Annunciation | Urgent, synthetic female vocal prompt backed by a subtle two-tone alert chime. | `AlertSynth` | **[OBS]** |
+
+**Assessment:** `deep-avalon` is an exceptionally accurate translation of Will
+Files' sound design. Its moderate frequencies, low resonance, and polished `tng`
+telemetry reflect a pristine, corporate-built vessel where machinery is heard as
+comfort rather than threat.
+
+---
+
+### The Nightflyer: Telepathic Corridor (Nightflyers)
+
+**Production context [DOC]:** Adapted from George R.R. Martin’s 1980 novella into
+the 2018 Syfy series (developed by Jeff Buhler), *Nightflyers* follows an
+expedition into deep interstellar space aboard an exploratory research vessel
+attempting to intercept the mysterious alien *Volcryn*.
+
+**[DOC]** The vessel is commanded by the reclusive Captain Royd Eris, who
+appears solely as a holographic projection. The ship's computational core is
+infiltrated and controlled by the digitized psychic consciousness of his
+deceased mother, Cynthia Eris, who weaponizes the ship’s environmental,
+gravitational, and mechanical systems against the crew.
+
+**[OBS]** The sound design reflects a **haunted technological void**: cold,
+dark, industrial maintenance corridors; reverberant metal catwalks; and
+deep-space isolation punctuated by psychic interference. The ship's internal
+telemetry feels erratic and threatening: bio-telepathic feedback chirps, static
+discharges on comm lines, and a low, groaning hull drone that conveys a vessel
+possessed by an unseen entity.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Telepathic Corridors & Quarters | Dark, menacing sub-bass hum; metallic expansion ticks; solitary, cold air handling with a subtle warbling psychoacoustic undertone. | **[OBS]** |
+| Cynthia Mainframe Core | Deep, chilling 38 Hz drone with shifting harmonic resonance; electrical conduit hum; eerie digital static flaring across audio channels. | **[OBS]** |
+| Solitary Life Support | Sluggish, muffled brown-noise air cycling; isolated coolant line wheezes in unpopulated sections of the ship. | **[OBS]** |
+
+*Covered by:* preset `deep-nightflyer` (`hull`: volume 0.75, `baseFreq: 38`,
+`filterCutoff: 88`, `resonance: 2.8`, `noiseMix: 0.55`; `warp`: volume 0.5,
+`bpm: 34`, `carrierFreq: 46`, `pulseShape: 'nx'`; `lifeSupport`: volume 0.55,
+`noiseType: 'brown'`, `highpassFreq: 120`, `lowpassFreq: 1300`; `telemetry.era:
+'ds9'`). Brown noise and low filter cutoffs (88 Hz hull) produce an ominous,
+claustrophobic bed.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Telepathic Feedback Ring | Shimmering, high-frequency harmonic chime signaling psychic intrusions into the ship's comms. | `WhoniverseAudioSynth.synthesizeTelepathicChime` (relabeled as "Void Resonance") | **[OBS]** |
+| Cardassian Sensor Discordance | Dissonant tritone tone produced by `ds9` telemetry; conveys unstable computer logic. | **Cardassian Sensor Tone** | **[OBS]** |
+| Hydraulic Bulkhead Slam | Sudden, violent pressure door closure trapping crew members in isolated corridors. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (relabeled as "Hull Strain Moan") | **[OBS]** |
+| Cryo-Suite Valve Click | Sharp relay snap regulating cold-sleep pods. | `WhoniverseAudioSynth.synthesizeDematSwitch` (relabeled) | **[OBS]** |
+
+**Assessment:** The borrowing of `telemetry.era: 'ds9'` is unusually fitting
+here: the Cardassian sensor tone's eerie, unresolved tritone interval aligns
+naturally with a ship whose computer systems are possessed by a hostile psychic
+matrix.
+
+---
+
+### USS Ascension: Generation Ship Promenade (Ascension)
+
+**Production context [DOC]:** Created by Philip Levens (Syfy, 2014), *Ascension*
+is built upon the real-world historical concept of **Project Orion** — a 1950s/60s
+aerospace project proposing starships propelled by nuclear pulse detonations.
+In the show’s alternate history, President John F. Kennedy launched the *USS
+Ascension* in 1963 with 600 men, women, and children on a century-long voyage to
+Proxima Centauri to preserve humanity from Cold War atomic annihilation.
+
+**[DOC]** Because the mission launched in 1963, its technology is entirely
+**mid-century electromechanical**: there are no microprocessors, LCD screens, or
+digital synthesizers. The vessel relies on massive steel flywheels, vacuum tubes,
+relay coils, analog magnetic tape recorders, rotary dials, and mechanical
+air scrubbers.
+
+**[OBS]** The soundscape is unique among generation ships: the steady, mechanical
+whir of massive centrifugal gravity flywheels; the warm, tubey drone of analog
+electronics; the clatter of electromagnetic relay switches; and the crackle of
+1960s public address loudspeakers broadcasting radio programs and announcements
+across the residential Promenade.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Generation Promenade & Commons | Cavernous interior park-like concourse; deep rotational hum from the centrifugal gravity cylinder; steady, low-velocity mechanical air blowers. | **[OBS]** |
+| Mechanical Flywheel Bays | Rhythmic, heavy mechanical rotation; deep industrial chug and motor hum of giant gyroscopic stabilizers. | **[OBS]** |
+| Bridge & Comm Center | Dense electromechanical bed: vacuum tube cooling fans, 60 Hz electrical transformer hum, and mechanical tape drive whirs. | **[OBS]** |
+
+*Covered by:* preset `deep-ascension` (`hull`: volume 0.7, `baseFreq: 48`,
+`filterCutoff: 105`, `noiseMix: 0.48`; `warp`: volume 0.4, `bpm: 36`,
+`carrierFreq: 56`, `pulseShape: 'nx'`; `lifeSupport`: volume 0.65,
+`noiseType: 'pink'`, `highpassFreq: 150`, `lowpassFreq: 1500`; `telemetry.era:
+'nx'`). The `nx` pulse shape provides an electromechanical chug appropriate for
+pre-digital reactor technology.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Electromechanical Relay Clack | Heavy snap of high-voltage solenoid relays switching reactor circuits. | **NX Hydraulic Relay** (via `nx` telemetry) | **[OBS]** |
+| PA System Broadcast Chime | Vintage single-frequency chime tone preceding 1960s shipboard radio announcements. | *none* — **gap** | **[OBS]** |
+| Rotary Selector Click | Mechanical rotary switch detents stepping through communication channels. | `WhoniverseAudioSynth.synthesizeDematSwitch` | **[OBS]** |
+| Centrifugal Clutch Engagement | Deep mechanical groan as flywheel clutches adjust station rotational momentum. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` | **[OBS]** |
+
+**Assessment:** The use of `telemetry.era: 'nx'` is a strong match for
+*Ascension*: the utilitarian, non-musical hydraulic relays and indicator beeps
+of the NX-01 effectively simulate 1960s industrial switchgear.
+
+---
+
+### Ark One: Evacuation Ark Bridge (The Ark)
+
+**Production context [DOC]:** Created by Dean Devlin and Jonathan Glassner
+(Syfy, 2023), *The Ark* depicts humanity's desperate evacuation of a dying
+Earth aboard *Ark One*, a massive colonization transport en route to Proxima b.
+A year before reaching its destination, a catastrophic hull breach strikes the
+vessel, killing the senior command staff and crippling vital life-support and
+food-production bays.
+
+**[OBS]** The sound design reflects a **crippled, struggling vessel**: stressed
+metal bulkheads groaning under atmospheric pressure differentials; wheezing,
+damaged air scrubbers working at emergency limits; and automated diagnostic
+alarms constantly reporting resource shortages and water recycling failures.
+The bridge acoustic environment is utilitarian and high-tension: crisp cooling
+fans, continuous computer telemetry checking compromised hull integrity, and
+emergency klaxons.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Command Bridge & Flight Ops | Tense, functional room tone; steady cooling fan whir; automated navigational telemetry chirping in rapid intervals. | **[OBS]** |
+| Damaged Environmental Deck | Struggling water reclamation filters; erratic air circulation hiss; low-frequency structural stress hums. | **[OBS]** |
+| Forward Living Quarters | Muffled, vibrating bulkhead hums; distant hydraulic conduits pulsing under fluctuating pressure. | **[OBS]** |
+
+*Covered by:* preset `deep-ark-one` (`hull`: volume 0.7, `baseFreq: 52`,
+`filterCutoff: 115`, `noiseMix: 0.5`; `warp`: volume 0.5, `bpm: 42`,
+`carrierFreq: 62`, `pulseShape: 'tng'`; `lifeSupport`: volume 0.6,
+`noiseType: 'pink'`, `highpassFreq: 170`, `lowpassFreq: 1700`; `telemetry.era:
+'voyager'`). Brighter base frequency (52 Hz) and crisp pink noise convey a
+modern, active spacecraft under continuous operational strain.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Bridge Telemetry Confirmation | Bright two-tone chirp verifying life-support repair commands. | **LCARS Double Chirp** (via `voyager` telemetry) | **[OBS]** |
+| Structural Integrity Sensor Sweep | Rising-and-falling electronic sweep pinging damaged hull compartments. | **Sensor Sweep** (via `voyager` telemetry) | **[OBS]** |
+| Hull Decompression Klaxon | Rapid alternating alarm tone signaling atmospheric loss in breached sectors. | `AlertSynth` | **[OBS]** |
+| Pressure Equalization Valve | High-pressure air jet balancing pressure between airlock corridors. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+
+**Assessment:** The 60/40 `voyager` telemetry split (Double Chirp / Sensor
+Sweep) provides an active, responsive computer environment appropriate for an
+operational bridge troubleshooting emergency systems.
+
+---
+
+### Icarus II: Solar Shield Core (Sunshine, 2007)
+
+**Production context [DOC]:** Directed by Danny Boyle, *Sunshine* features one of
+the most celebrated sound design achievements in modern cinema, created by
+supervising sound editor and sound designer **Glenn Freemantle** (Sound 24 at
+Pinewood Studios). Freemantle's soundscape was instrumental in establishing the
+psychological terror and awe of the dying Sun.
+
+**[DOC]** The *Icarus II* carries a stellar payload with the mass of Manhattan
+Island to reignite the fading Sun. The ship is dominated by a colossal,
+paraboloid heat shield composed of thousands of golden carbon-composite tiles.
+Freemantle built an acoustic landscape that deliberately defied scientific
+silence in external space: the Sun is treated as an active, living antagonist,
+generating an overwhelming, visceral low-frequency roar that shakes the ship's
+exterior.
+
+**[DOC]** Internally, Freemantle crafted a stark, unsettling dichotomy:
+1. **The Shield & Observation Room:** Massive thermal expansion groans,
+ metallic clicks, and the muffled roar of the solar wind.
+2. **The Oxygen Garden:** Soft, organic, rustling green vegetation and bubbling
+ algae nutrient tanks — the crew's fragile biological tether.
+3. **The Immersion Mainframe:** Deep, tranquil, underwater hydrophone hums
+ where the ship's AI computer (voiced by Chipo Chung) rests in a sub-zero
+ coolant bath.
+4. **The Icarus I Distress Beacon:** An eerie, iconic tonal beacon existing in
+ the uncanny valley between musical chord and electronic code, echoing through
+ the void.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Solar Shield Core & Struts | Immense structural tension; deep 40 Hz thermal expansion creaks; low, continuous vibration of the massive golden heat shield deflecting solar radiation. | **[OBS]** |
+| Mainframe Coolant Chamber | Submerged hydrophone sub-bass drone; chilled liquid coolant circulation; profound, quiet computational isolation. | **[OBS]** |
+| Oxygen Garden & Life Support | Gentle pink/brown air handling; subtle moisture bubbling; peaceful organic respiration contrasting with exterior furnace heat. | **[OBS]** |
+
+*Covered by:* preset `deep-icarus-ii` (`hull`: volume 0.8, `baseFreq: 40`,
+`filterCutoff: 95`, `noiseMix: 0.6`; `warp`: volume 0.5, `bpm: 32`,
+`carrierFreq: 48`, `pulseShape: 'nx'`; `lifeSupport`: volume 0.65,
+`noiseType: 'brown'`, `highpassFreq: 130`, `lowpassFreq: 1400`; `telemetry.era:
+'tng'`). Heavy noise mix (0.6) and dark brown noise evoke the immense thermal
+weight and liquid-cooled interior of the vessel.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Solar Wind Shield Flare | Resonant sub-bass swell and high-frequency sizzle as coronal mass ejections impact the golden shield. | `alerts.synthesizeWarpJump` (triggered via event `btn-solar-swell`) | **[DOC]** |
+| Mainframe Diagnostic Blip | Soft, tranquil sine blip from the coolant-immersed computer core. | **LCARS Single Chirp** (via `tng` telemetry) | **[OBS]** |
+| Thermal Expansion Tick | Sharp, brittle metallic crack echoing through the shield support pylons under extreme temperature gradients. | `whoniverseAudio.synthesizeDematSwitch` | **[OBS]** |
+| Icarus I Distress Beacon | Haunting, alien electronic arpeggio pulsing through communication arrays. | *none* — **gap**, high thematic value | **[DOC]** |
+
+**Assessment:** One of the most distinctive presets in the app. The combination
+of a deep 40 Hz hull drone with brown noise captures the immense physical mass
+of the heat shield shielding the crew from total incineration. The single
+largest missing element is the haunting **Icarus distress beacon**, one of the
+most memorable sound effects in modern sci-fi cinema.
+
+---
+
+### Event Horizon: Gravity Singularity Core (Event Horizon, 1997)
+
+**Production context [DOC]:** Directed by Paul W.S. Anderson, *Event Horizon* is
+a masterclass in sci-fi gothic horror. Sound design was crafted by sound designer
+**Campbell Askew** and supervising sound editor **Jim Shields**, with re-recording
+mixes at Twickenham Studios. The film’s industrial electronic score was
+composed by **Michael Kamen** in collaboration with British electronic music
+pioneers **Orbital**.
+
+**[DOC]** The *Event Horizon* was an experimental deep-space vessel built to test
+a revolutionary gravity drive designed by Dr. William Weir. The drive creates an
+artificial black hole singularity to fold space-time, allowing instantaneous
+travel. Disappearing beyond Neptune on its maiden voyage, the ship re-emerges
+seven years later from "a dimension of pure chaos, pure evil," having become a
+sentient, corrupted organism that induces horrifying hallucinations in anyone
+who boards it.
+
+**[DOC]** The Gravity Drive Core is one of cinema's most iconic sound design
+creations: a cavernous chamber housing three concentric, magnetic gyroscopic
+rings rotating around a spherical containment singularity. Askew and Shields
+built its audio using massive sub-bass dimensional thrums, industrial servo
+groans, and unsettling organic audio elements — heartbeat pulses, wet breathing,
+and reversed acoustic whispers — layered into the ship’s mechanical fabric.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Gravity Singularity Core | Monstrous sub-bass gravitational thrum (32 Hz); slow, menacing magnetic gyroscopic pulsing (28 bpm); dark, warping dimensional void resonances. | **[OBS]** |
+| Corrupted Gothic Corridors | Heavy industrial groaned metal; echoing cavernous bulkhead creaks resembling a haunted cathedral; icy air handlers wheezing in sub-zero gloom. | **[OBS]** |
+| Extradimensional Void Static | Chilling psychoacoustic drone; subliminal whispers and flesh-like organic pulses riding just beneath the threshold of hearing. | **[OBS]** |
+
+*Covered by:* preset `deep-event-horizon` (`hull`: volume 0.88, `baseFreq: 32`,
+`filterCutoff: 80`, `resonance: 3.5`, `noiseMix: 0.65`; `warp`: volume 0.85,
+`bpm: 28`, `carrierFreq: 42`, `filterCutoff: 130`, `pulseShape: 'nx'`,
+`resonance: 4.2`, `swirlMix: 0.35`; `lifeSupport`: volume 0.55,
+`noiseType: 'brown'`, `highpassFreq: 100`, `lowpassFreq: 1100`; `telemetry.era:
+'nx'`). The lowest base frequency (32 Hz), slowest pulse rate (28 bpm), and
+highest warp resonance (4.2) in the entire application, creating an
+overwhelming, terrifying sonic presence.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Singularity Drive Engage | Deep, dimensional sub-bass pitch drop (95 Hz curving to 28 Hz) with modulating triangle LFO, warping the room. | `expandedAudio.synthesizeSingularityEngage` (triggered via event `btn-singularity`) | **[DOC]** |
+| Hull Strain Moan | Agonized, reverberant structural groaning as gravitational tides bend the titanium spine. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (relabeled) | **[OBS]** |
+| Extradimensional Static Whisper | Fleeting burst of reversed voices and cosmic void static across the communication net. | *none* — **gap** | **[DOC]** |
+| Gyroscopic Magnet Clank | Heavy electromagnetic catch as the outer drive rings lock into rotational alignment. | **NX Hydraulic Relay** (via `nx` telemetry) | **[OBS]** |
+
+**Assessment:** This is the heaviest, most intimidating audio profile in the
+entire app. The 32 Hz / 28 bpm combination creates an almost physical sensation
+of gravitational mass. The bespoke event `synthesizeSingularityEngage()` is a
+direct synthesis of Dr. Weir’s gravity drive spinning up.
+
+---
+
+### Lewis & Clark: Rescue Cutter Bridge (Event Horizon, 1997)
+
+**Production context [DOC]:** Also from *Event Horizon* (1997), the *USAC Lewis
+and Clark* provides the grounded, utilitarian human counterpoint to the gothic
+supernatural terror of the *Event Horizon*. Commanded by Captain Miller
+(Laurence Fishburne), it is a United States Aerospace Command search-and-rescue
+cutter.
+
+**[OBS]** The sound design reflects a **cramped, industrial military cutter**:
+tight pressurized cockpits; responsive, high-output ion thrusters; noisy,
+dry air scrubbers maintaining breathable oxygen in close quarters; and active
+tactical radar and sensor telemetry. There is nothing mystical or haunted about
+the *Lewis & Clark*: every sound is mechanical, functional, and rugged,
+establishing the normalcy of the crew before they board the derelict.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Rescue Cutter Cockpit & Flight Deck | Compact, utilitarian room tone; high-frequency cooling blowers; rapid, busy short-range navigational telemetry. | **[OBS]** |
+| Search & Rescue Propulsion | Crisp, energetic engine thrum (48 bpm, 56 Hz base); responsive sub-light maneuvering thrusters. | **[OBS]** |
+| Pressurized Crew Compartment | Dry, high-volume air recirculation; mechanical valve cycling in environmental scrubbers. | **[OBS]** |
+
+*Covered by:* preset `deep-lewis-clark` (`hull`: volume 0.65, `baseFreq: 56`,
+`filterCutoff: 125`, `noiseMix: 0.48`; `warp`: volume 0.55, `bpm: 48`,
+`carrierFreq: 68`, `pulseShape: 'defiant'`; `lifeSupport`: volume 0.6,
+`noiseType: 'pink'`, `highpassFreq: 180`, `lowpassFreq: 1800`; `telemetry.era:
+'ds9'`). The aggressive `defiant` pulse shape and 48 bpm rate reflect a
+compact, high-thrust tactical cutter.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Tactical Proximity Ping | Sharp, high-frequency sonar-like radar ping locating debris around Neptune's orbit. | `telemetry.synthesizeSensorSweep` (relabeled as "Tachyon Sensor Ping") | **[OBS]** |
+| Thruster Attitude Burst | Sharp, pressurized gas release maneuvering the cutter into docking position. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+| Rescue Comm Link Acknowledge | Short electronic chirp acknowledging pilot communications. | **Single Chirp** (via `ds9` telemetry) | **[OBS]** |
+| Magnetic Docking Collar Latch | Heavy hydraulic and magnetic clamp securing the cutter to the Event Horizon’s airlock. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` | **[OBS]** |
+
+**Assessment:** The contrast between `deep-lewis-clark` (56 Hz base, 48 bpm,
+`pulseShape: 'defiant'`) and `deep-event-horizon` (32 Hz base, 28 bpm,
+`pulseShape: 'nx'`) mirrors the exact dynamic of the film: human, military
+efficiency versus unfathomable cosmic dread.
+
+---
+
+## The eldritch void vs. generation ark design constraint
+
+The Deep Space universe balances a profound aesthetic divide that must be
+reflected in its sound synthesis:
+
+1. **The Generation Ark Aesthetic (*The Avalon*, *USS Ascension*, *Ark One*):**
+ Centuries-long voyages demand psychological stability. Life support must be
+ quiet, smooth, and imperceptible; propulsion is a steady, reassuring pulse;
+ and public concourses provide open, reassuring reverberation to prevent
+ cabin fever. The soundscape is built around **preservation and mechanical
+ predictability**.
+2. **The Eldritch Void Aesthetic (*Event Horizon*, *Icarus II*, *The Nightflyer*):**
+ Vessels penetrating unknown physical frontiers confront forces that dwarf
+ human engineering. The soundscape abandons comfort: sub-bass rumbles drop into
+ infrasonic frequencies (32 Hz), structural bulkheads groan under gravitational
+ and thermal shear, and the silence of the void is violated by radiation roars,
+ black hole singularities, and psychic static. The soundscape is built around
+ **dread, awe, and structural strain**.
+
+---
+
+## Existing element / soundboard relabeling
+
+The `deepspace` soundboard (`js/config.js`) maps five interactive trigger
+buttons to audio synthesis methods:
+
+| Soundboard label | Method called | Underlying element origin |
+| --- | --- | --- |
+| VOID RESONANCE | `whoniverseAudio.synthesizeTelepathicChime` | Relabeled Doctor Who TARDIS telepathic circuit arpeggio shimmer |
+| GRAVITY INJECTOR | `telemetry.synthesizeLCARSSingleChirp` | Relabeled Starfleet LCARS single panel touch tone blip |
+| HULL STRAIN MOAN | `expandedAudio.synthesizeDockingClamp` | Relabeled heavy mechanical latch + pneumatic exhaust |
+| TACHYON SENSOR PING | `telemetry.synthesizeSensorSweep` | Relabeled Starfleet long-range sensor frequency glide |
+| CRYO-SUITE REGULATOR | `whoniverseAudio.synthesizeDematSwitch` | Relabeled Doctor Who TARDIS console demat relay click |
+
+In addition, the theme features three bespoke event triggers:
+- `btn-singularity` ("SINGULARITY ENGAGE"): Calls `expandedAudio.synthesizeSingularityEngage()`,
+ producing a 3.2-second deep sub-bass pitch drop (95 Hz curving down to 28 Hz)
+ with a modulating triangle wave, synthesizing an artificial black hole.
+- `btn-gravity-pulse` ("GRAVITY PULSE"): Also triggers `synthesizeSingularityEngage()`.
+- `btn-solar-swell` ("SOLAR SHIELD SWELL"): Calls `alerts.synthesizeWarpJump()`,
+ producing an intense rising-and-falling energy wash.
+
+---
+
+## Deep Space existing element retention map
+
+| Existing element | Assigned function | Verdict |
+| --- | --- | --- |
+| Void Resonance (`synthesizeTelepathicChime`) | Psychic / void anomalies | Keep — shimmering arpeggio functions well for the *Nightflyer*'s psychic presence |
+| Gravity Injector (`synthesizeLCARSSingleChirp`) | Impulse gravity compensation | Serviceable, though a duller sub-bass thud would better represent gravitational mass |
+| Hull Strain Moan (`synthesizeDockingClamp`) | Deep structural bulkhead stress | Mismatch — a docking latch impact does not sound like a groaning, bending titanium hull |
+| Tachyon Sensor Ping (`synthesizeSensorSweep`) | Long-range deep-space sensor | Keep — sensor frequency sweep is appropriate for exploratory scans |
+| Cryo-Suite Regulator (`synthesizeDematSwitch`) | Hibernation pod valve/relay | Keep — crisp 60ms click works convincingly as a cryogenic valve solenoid |
+
+---
+
+## Deep Space gap list
+
+Ranked by impact and feasibility across the seven vessel profiles:
+
+| # | Sound | Vessel(s) | Why it matters | Difficulty |
+| --- | --- | --- | --- | --- |
+| 1 | **True Hull Strain Moan** | Event Horizon, Ark One, Icarus II | The current soundboard relabels a sharp docking clamp latch as "Hull Strain Moan." A true structural groan requires a slow, resonant bandpass filter sweep over low-frequency noise, conveying bending metal. | Medium |
+| 2 | **Icarus I distress beacon** | Icarus II | The single most haunting and famous sound cue in *Sunshine*: an eerie, beautiful, electronic arpeggio pulsing through empty space. | Medium |
+| 3 | **Solar radiation / heat shield roar** | Icarus II | The visceral roar of the Sun deflecting off the gold-leaf shield. A lowpass-filtered noise swell with subtle randomized crackle. | Low |
+| 4 | **Extradimensional / psychic static whisper** | Event Horizon, Nightflyer | A chilling psychoacoustic burst: reversed white noise with formant filtering simulating voices lost in the void. | Medium |
+| 5 | **Cryogenic pod depressurization sigh** | Avalon, Ark One | The characteristic sound of sleeper pods opening: a low-velocity gas hiss followed by a smooth motorized seal hum. | Low |
+| 6 | **Mid-century Orion nuclear pulse thump** | Ascension | The rhythmic, heavy thrum of nuclear pulse propulsion or giant flywheel clutches for Project Orion technology. | Low |
+
+---
+
+## Deep Space open questions
+
+- **[GAP]** The specific synthesizer patches and filtering used by Glenn
+ Freemantle to produce the eerie *Icarus I* distress beacon in *Sunshine*.
+- **[GAP]** Whether the automated computer voice of the *Avalon* (voiced by
+ Chris Pratt's character interaction) followed an established musical chime
+ standard in production stems.
+- **[GAP]** The exact foley layering used by Campbell Askew for the Event
+ Horizon’s spinning gravity drive core beyond the credited gyroscopic servos
+ and sub-bass oscillator passes.
+
+### Where to verify (Deep Space)
+
+- **CineMontage** & **ProVideo Coalition**: In-depth production features with
+ supervising sound editor Will Files detailing custom foley, acoustic damping,
+ and sound design for the starship *Avalon* in *Passengers*.
+- **Sound 24 / Pinewood Studios Archives**: Technical interviews with Glenn
+ Freemantle documenting sound recording and psychoacoustic design for Danny
+ Boyle's *Sunshine*.
+- **Twickenham Film Studios / British Film Institute (BFI)**: Production sound
+ credits and interviews for *Event Horizon*, documenting Campbell Askew, Jim
+ Shields, and the collaboration with Michael Kamen and Orbital.
+- **Project Orion Historical Archives (George Dyson)**: Primary documentation
+ on the 1960s nuclear pulse propulsion concepts that formed the basis of *USS
+ Ascension*.
+
+---
+
+# Comedy & Whimsical Adventure
+
+The "Comedy / Adventure" theme features five starships across parody, satire,
+and affectionate sci-fi homage:
+- *The Orville* (USS Orville) — Seth MacFarlane’s love letter to 1990s Star Trek
+- *Galaxy Quest*, 1999 (NSEA Protector) — Dean Parisot’s meta-fictional tribute
+- *The Hitchhiker's Guide to the Galaxy* (Heart of Gold) — Douglas Adams' cosmic satire
+- *Hyperdrive*, BBC 2006–2007 (HMS Camden Lock) — Workplace sitcom in deep space
+- *Spaceballs*, 1987 (Spaceball One) — Mel Brooks' classic space-opera parody
+
+Acoustically, comedy sci-fi is defined by a fundamental rule: **the sound
+design must play it straight**. Whether engineered by Skywalker Sound legends
+(**Gary Rydstrom**, **Randy Thom**) or Academy Award winners (**Richard Beggs**,
+**Glenn Freemantle**), these ships sound convincing, heavy, and mechanically
+authentic — which is precisely what makes their comedic subversions so funny.
+
+## Layer mapping (Comedy/Adventure-specific)
+
+| Real concept | App layer | Notes |
+| --- | --- | --- |
+| Hull / quantum hum, beryllium reactor, mega-engine roar | `hull` (`HullDroneSynth`) | Ranges from clean, optimistic 58 Hz hums on the Orville to the deafening, bass-heavy 64 Hz rumble of Spaceball One. |
+| Propulsion / quantum drive, beryllium pulse, improbability | `warp` (`WarpCoreSynth`) | Fast, energetic pulse rates (38–66 bpm) driving quantum foam manipulation, time dilation, or comical acceleration. |
+| Ventilation / air handling, domestic galley tea scrubbers | `lifeSupport` (`LifeSupportSynth`) | Bright pink and white noise beds; clean airflow in futuristic bridges, contrasted with British electric kettle hisses in the mess. |
+| Bridge chirps, telemetry confirmations, helmet intercoms | `telemetry` (`TelemetrySynth`) | Borrowed Trek eras (`tng`, `voyager`, `tos`, `nx`) supplying melodic console chirps, crisp sensor scans, or retro relay clatter. |
+| Ludicrous speed, improbability flips, cheerful door sighs | Events / Soundboard | Dedicated comedic synthesis methods and relabeled interactive triggers. |
+
+---
+
+## Ship-by-ship
+
+### USS Orville: Command Bridge (The Orville)
+
+**Production context [DOC]:** Created by Seth MacFarlane, *The Orville*’s sound
+design was led by supervising sound designer **Jon Greasley** at King
+Soundworks, working alongside supervising sound editors Darren King and Joel
+Shryack. MacFarlane, an avid fan of Berman-era *Star Trek*, directed the sound
+department to create an earnest, high-budget, optimistic audio identity that
+honors the classic aesthetic of *The Next Generation* while establishing a
+distinctive Planetary Union sonic signature.
+
+**[DOC]** The musical score, composed by John Debney, Joel McNeely, and Bruce
+Broughton, was recorded on a Hollywood scoring stage with a full 75-piece
+orchestra for every episode — an extraordinary commitment in modern television
+that directly influenced the sound design. Because the orchestral music is rich,
+dynamic, and present in almost every scene, the ambient soundscapes were crafted
+to sit cleanly in the frequency spectrum without muddying the symphonic score.
+
+**[OBS]** Acoustically, the *USS Orville* (ECV-197, an exploratory mid-level
+vessel) is **bright, clean, and optimistic**:
+- The **Quantum Drive** hums with a smooth, high-frequency musical tone (58 Hz
+ base) rather than a dark, abrasive industrial grind.
+- The command bridge is open and serene, featuring gentle air filtration with
+ ample high-frequency "air" (200–1900 Hz bandpass).
+- Consoles respond with pleasant, multi-tonal synthesizer acknowledgments that
+ sound distinctly musical, reflecting the Union’s hopeful post-scarcity ethos.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Planetary Union Command Bridge | Pristine, uplifting room tone; smooth cooling circulation; gentle high-frequency console resonance with wide stereo spread. | **[OBS]** |
+| Quantum Drive Nexus | Smooth, melodic faster-than-light drive thrum; rapid, rhythmic quantum intermix pulsing cleanly at 52 bpm. | **[OBS]** |
+| Crew Quarters & Corridors | Quiet, comforting ventilation; soft, dampened carpeted room tone; absent of mechanical rattle or hull groaning. | **[OBS]** |
+
+*Covered by:* preset `com-orville` (`hull`: volume 0.6, `baseFreq: 58`,
+`filterCutoff: 130`, `noiseMix: 0.35`; `warp`: volume 0.65, `bpm: 52`,
+`carrierFreq: 74`, `pulseShape: 'tng'`, `resonance: 3.4`; `lifeSupport`: volume
+0.6, `noiseType: 'pink'`, `highpassFreq: 200`, `lowpassFreq: 1900`;
+`telemetry.era: 'tng'`). Low noise mix (0.35) and high base frequency (58 Hz)
+give this preset a bright, uplifting sheen.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Orville Acknowledge Chirp | Pleasant three-tone melodic acknowledgment sequence confirming bridge inputs. | `telemetry.synthesizeLCARSSequence` (triggered via soundboard `btn-chirp-ack`) | **[OBS]** |
+| Quantum Drive Jump | Resonant rising energy swell and instantaneous spatial displacement pop. | `alerts.synthesizeWarpJump` (triggered via event `btn-quantum-jump`) | **[OBS]** |
+| Environmental Sensor Sweep | Smooth, high-frequency frequency glide surveying planetary atmospheres. | **Sensor Sweep** (via `tng` telemetry) | **[OBS]** |
+| Pneumatic Door Swish | Soft, airy pneumatic slide with a subtle electronic latch. | *none* — **gap** | **[OBS]** |
+
+**Assessment:** `com-orville` is one of the cleanest presets in the entire app.
+Its high-frequency tuning and 52 bpm `tng` pulse shape mirror Jon Greasley’s
+clean mix, leaving room for symphonic orchestral textures while delivering an
+unmistakable late-24th-century Trek aesthetic.
+
+---
+
+### NSEA Protector: Beryllium Engine Room (Galaxy Quest, 1999)
+
+**Production context [DOC]:** Directed by Dean Parisot, *Galaxy Quest* features
+sound design by Academy Award winner **Richard Beggs** (*Apocalypse Now*) and
+supervising sound editor **Tim Holland**, with sound effects editing by Tim
+Nielsen.
+
+**[DOC]** The narrative brilliance of *Galaxy Quest* rests on the **Thermians**,
+an alien species who intercepted broadcasts of a campy 1970s TV space opera and,
+believing them to be "historical documents," built a 100% functional, full-scale
+starship: the *NSEA Protector* (NTE-3120). Beggs and Holland faced a unique
+challenge: the ship's audio had to sound simultaneously like low-budget TV cheese
+and terrifyingly real alien engineering.
+
+**[DOC]** In the engine room, the ship is powered by a **Beryllium Sphere** —
+an exotic, glowing crystal reactor core that hums with immense, volatile fusion
+energy. The ship is also equipped with the **Omega-13**, a mysterious device
+rumored to rearrange matter and collapse time 13 seconds into the past. In
+contrast to the campy exterior, the mechanical engineering is fierce: heavy,
+throbbing reactor pulses, aggressive digital Chompers swinging in corridors,
+and tense bridge alarm chatter.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Beryllium Engine Core | Raw, aggressive fusion thrum (64 Hz base); rapid, intense 56 bpm reactor pulse; sharp electromagnetic containment field resonance. | **[OBS]** |
+| Command Bridge (Thermian Build) | Earnest, high-density digital chatter; crisp cooling blowers; subtle high-voltage electronic hum beneath pristine white consoles. | **[OBS]** |
+| Core Corridor / Chomper Shafts | Industrial mechanical clanking, violent pneumatic piston strokes, and heavy structural vibrations. | **[OBS]** |
+
+*Covered by:* preset `com-protector` (`hull`: volume 0.7, `baseFreq: 64`,
+`filterCutoff: 145`, `resonance: 3.2`, `noiseMix: 0.45`; `warp`: volume 0.8,
+`bpm: 56`, `carrierFreq: 82`, `filterCutoff: 230`, `pulseShape: 'defiant'`,
+`resonance: 4.2`; `lifeSupport`: volume 0.55, `noiseType: 'pink'`,
+`highpassFreq: 220`, `lowpassFreq: 2100`; `telemetry.era: 'voyager'`). High warp
+volume (0.8), high carrier frequency (82 Hz), and aggressive `defiant` pulse
+shape capture the intense power of the Beryllium reactor.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Beryllium Core Pulse | Resonant frequency jump simulating the unstable power surges of the core. | `expandedAudio.synthesizeImprobabilityFlip` (relabeled) | **[OBS]** |
+| Omega-13 Charge Cycle | Deep, rising capacitor whine building to a blinding temporal shockwave. | `whoniverseAudio.synthesizeSonicScrewdriver` (relabeled) | **[OBS]** |
+| Digital Bridge Acknowledge | Crisp, earnest digital beep confirming helm commands. | **LCARS Double Chirp** (via `voyager` telemetry) | **[OBS]** |
+| Thermian Screen Ping | High-frequency electronic indicator acknowledging communications from Mathesar. | **Sensor Sweep** (via `voyager` telemetry) | **[OBS]** |
+
+**Assessment:** The choice of `pulseShape: 'defiant'` at 56 bpm gives the
+*Protector* an urgent, high-power engine room rhythm that perfectly sells the
+Thermians' literal-minded engineering. Relabeling the sonic screwdriver as the
+"Omega-13 Charge" is functionally serviceable, though a bespoke rising
+capacitor whine would elevate the preset.
+
+---
+
+### Heart of Gold: Improbability Bridge (The Hitchhiker's Guide to the Galaxy)
+
+**Production context [DOC]:** Created by Douglas Adams, *The Hitchhiker's Guide
+to the Galaxy*’s sonic heritage originated in the 1978 BBC radio series, where
+sound effects were crafted by **Dick Mills** and **Harry Parker** at the **BBC
+Radiophonic Workshop**. For the 2005 feature film directed by Garth Jennings,
+sound design was supervised by Academy Award winner **Glenn Freemantle** (Sound
+24) alongside sound designer **Niv Adiri**.
+
+**[DOC]** The *Heart of Gold* is powered by the revolutionary **Infinite
+Improbability Drive**, which allows the ship to pass through every point in every
+conceivable universe simultaneously by calculating the exact level of
+improbability required. When the drive engages, physical reality warps: the ship
+and its crew undergo surreal, instantaneous transformations (turning into sofas,
+yarn, or knitted yarn beings) accompanied by bizarre, ascending and descending
+frequency glissandi and acoustic inversions.
+
+**[DOC]** The ship's interior was manufactured by the **Sirius Cybernetics
+Corporation**, outfitted with *Genuine People Personalities* (GPP). This
+includes **Eddie**, the shipboard computer whose voice is oppressively,
+infuriatingly cheerful and motherly, and the ship's automatic doors, which take
+ecstatic, sensual pleasure in opening and closing:
+> *"All the doors in this spaceship have a cheerful and sunny disposition. It is
+> their pleasure to open for you, and their satisfaction to close again with the
+> knowledge of a job well done."*
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Improbability Bridge | Bright, whimsical, slightly surreal room tone; clean white-noise air filtration (180–2400 Hz); buoyant, rapid 60 bpm quantum drive rhythm. | **[OBS]** |
+| Infinite Improbability Core | Shifting acoustic pitch; fluctuating harmonic spread; unstable reality field buzzing with whimsical mechanical energy. | **[OBS]** |
+| Galley & Nutri-Matic Concourse | Cheerful domestic mechanical hums; bubbling beverage dispensers attempting and failing to produce tea. | **[OBS]** |
+
+*Covered by:* preset `com-heart-of-gold` (`hull`: volume 0.6, `baseFreq: 52`,
+`filterCutoff: 120`, `noiseMix: 0.4`; `warp`: volume 0.7, `bpm: 60`,
+`carrierFreq: 70`, `filterCutoff: 210`, `pulseShape: 'voyager'`, `resonance:
+3.8`, `swirlMix: 0.4`; `lifeSupport`: volume 0.65, `noiseType: 'white'`,
+`highpassFreq: 180`, `lowpassFreq: 2400`; `telemetry.era: 'tng'`). The only
+preset in the app utilizing **white noise** in life support, delivering a bright,
+crisp, energetic air bed.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Cheerful Door Sigh | Pleasurable, musical sine-wave sigh (620 Hz ramping to 840 Hz, then settling to 520 Hz) as Sirius Cybernetics doors open. | `expandedAudio.synthesizeCheerfulDoor` (bespoke method) | **[DOC]** |
+| Improbability Reality Flip | Whimsical, rapid four-stage frequency jump (1400 → 180 → 2200 → 440 Hz) warping reality. | `expandedAudio.synthesizeImprobabilityFlip` (bespoke method) | **[DOC]** |
+| Nutri-Matic Tea Dispenser | Gurgling fluid pump followed by an electric sputter delivering "a liquid almost, but not quite, entirely unlike tea." | `expandedAudio.synthesizeImprobabilityFlip` (relabeled) | **[DOC]** |
+| Eddie Computer Acknowledge | Cheerful, upbeat data blip acknowledging bridge inquiries. | **Single Chirp** / **Double Chirp** (via `tng` telemetry) | **[OBS]** |
+
+**Assessment:** `com-heart-of-gold` is uniquely well-served by bespoke synthesis
+in `js/audio.js`: `synthesizeCheerfulDoor()` and `synthesizeImprobabilityFlip()`
+were custom-coded specifically for this ship, directly capturing Douglas Adams'
+iconic comedic creations.
+
+---
+
+### HMS Camden Lock: Flight Deck & Mess (Hyperdrive)
+
+**Production context [DOC]:** Created by Kevin Cecil and Andy Townsend (BBC,
+2006–2007), *Hyperdrive* is a sci-fi workplace sitcom starring Nick Frost
+(Commander Michael Henderson) and Miranda Hart. The series follows the crew of
+the *HMS Camden Lock*, an exploratory vessel in the British Space Fleet in 2151,
+tasked with protecting British commercial interests and peddling British goods
+to unimpressed alien civilizations.
+
+**[OBS]** The acoustic design, supervised by BBC sound director **John
+Downer**, is a brilliant parody of **mundane British bureaucracy in space**:
+- The sub-light engines do not hum like Starfleet antimatter reactors; they
+ chug and rattle like a sluggish London diesel commuter bus or an overworked
+ boiler.
+- The mess hall and flight deck echo with the mundane sounds of office life:
+ an electric kettle bubbling on a counter, porcelain mugs clinking, squeaky
+ linoleum floors, and humming strip fluorescent lights.
+- Intercom announcements are preceded by tinny, low-bitrate chime signals
+ announcing mandatory staff appraisals or trade disputes with the Lallakiss.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Flight Deck & Bridge | Unremarkable, slightly dated mechanical room tone; steady 48 Hz diesel-like engine hum; utilitarian air blowers with occasional duct rattles. | **[OBS]** |
+| Mess Hall & Officers' Quarters | Domestic appliances humming in the background; electric kettle boiling; quiet low-velocity ventilation. | **[OBS]** |
+| Sub-Light Propulsion Bays | Sluggish, mechanical engine chug (38 bpm); heavy unrefined piston and gear vibrations transmitted through the steel decking. | **[OBS]** |
+
+*Covered by:* preset `com-camden-lock` (`hull`: volume 0.65, `baseFreq: 48`,
+`filterCutoff: 105`, `noiseMix: 0.48`; `warp`: volume 0.45, `bpm: 38`,
+`carrierFreq: 58`, `filterCutoff: 140`, `pulseShape: 'nx'`; `lifeSupport`:
+volume 0.6, `noiseType: 'pink'`, `highpassFreq: 160`, `lowpassFreq: 1600`;
+`telemetry.era: 'nx'`). The `nx` pulse shape delivers the slow, mechanical
+reactor chug needed for a sluggish government vessel.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Administrative Intercom Chime | Flat, dry single-frequency beep preceding mundane diplomatic announcements from Commander Henderson. | **NX Indicator Beep** (via `nx` telemetry) | **[OBS]** |
+| Hydraulic Circuit Breaker | Heavy mechanical thunk as ancient British electrical relays trip under load. | **NX Hydraulic Relay** (via `nx` telemetry) | **[OBS]** |
+| Electric Kettle Whistle | Domestic high-frequency steam whistle boiling water for Earl Grey tea. | *none* — **gap** | **[OBS]** |
+| Hyperdrive Jump Engage | Sluggish, sputtering engine roar followed by an abrupt, unceremonious warp transition. | `alerts.synthesizeWarpJump` | **[OBS]** |
+
+**Assessment:** The use of `telemetry.era: 'nx'` is a pitch-perfect fit: the
+plain, non-musical hydraulic relays and utilitarian indicator beeps of the NX-01
+sound exactly like British government-contracted electronics installed in an
+underfunded 22nd-century starship.
+
+---
+
+### Spaceball One: Mega-Warship Bridge (Spaceballs, 1987)
+
+**Production context [DOC]:** Directed by Mel Brooks, *Spaceballs* features
+sound design supervised by two of the most renowned sound designers in cinematic
+history: **Gary Rydstrom** (seven-time Academy Award winner for *Jurassic Park*,
+*Terminator 2*, *Saving Private Ryan*) and **Randy Thom** (two-time Oscar winner
+for *The Right Stuff*, *The Incredibles*) at Skywalker Sound / Sprocket Systems.
+The re-recording mixers included Richard Beggs and Gary Summers.
+
+**[DOC]** *Spaceball One* is an absurdly colossal mega-warship under the command
+of Dark Helmet (Rick Moranis) and Colonel Sandurz. In an iconic visual gag, the
+ship takes nearly two full minutes of screen time just to fly past the camera,
+culminating in a bumper sticker reading: *"We Brake For Nobody."* Later in the
+film, the ship transforms into **Mega-Maid**, a giant robotic statue armed with a
+vacuum cleaner to suck the atmosphere from planet Druidia.
+
+**[DOC]** Rydstrom and Thom gave *Spaceball One* a massive, comically
+overbearing soundscape. Parodying *Star Wars* Star Destroyers, the ship is
+powered by five absurd speed settings:
+1. Light speed
+2. Ridiculous speed
+3. **Ludicrous speed**
+4. Plaid!
+
+**[DOC]** The sequence in which the ship shifts into **Ludicrous Speed** is a
+classic piece of sound design: a deafening, terrifyingly high-pitched
+sawtooth-wave accelerator whine that climbs continuously until the vessel
+overshoots the heroes and "goes to plaid," leaving behind a checkered neon trail.
+Dark Helmet's dialogue is muffled and echoed through his comically oversized
+plastic breathing helmet, contrasted with retro computer telemetry.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Mega-Warship Command Bridge | Immense, deafening engine room tone (64 Hz base, volume 0.85); massive air handlers blowing high-volume circulation (220–2200 Hz); echoing industrial metal deckplates. | **[OBS]** |
+| Ludicrous Propulsion Core | Aggressive, rapid 66 bpm engine thrum (`pulseShape: 'defiant'`); carrier frequency 86 Hz; extreme resonance (4.4) conveying absurdly oversized engines. | **[OBS]** |
+| Mega-Maid Vacuum Conduits | Cavernous airflow roar and colossal atmospheric suction turbines cycling planetary air. | **[OBS]** |
+
+*Covered by:* preset `com-spaceball-one` (`hull`: volume 0.85, `baseFreq: 64`,
+`filterCutoff: 150`, `resonance: 3.5`, `noiseMix: 0.55`; `warp`: volume 0.9,
+`bpm: 66`, `carrierFreq: 86`, `filterCutoff: 260`, `pulseShape: 'defiant'`,
+`resonance: 4.4`; `lifeSupport`: volume 0.6, `noiseType: 'pink'`,
+`highpassFreq: 220`, `lowpassFreq: 2200`; `telemetry.era: 'tos'`). The highest
+warp volume (0.9), highest warp cutoff (260 Hz), and fastest bpm (66) of any
+ship in the app, capturing an absurdly overpowered mega-warship.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Ludicrous Speed Accelerator | Screaming, exponential sawtooth-wave frequency climb (60 Hz ramping violently to 5400 Hz over 3.2 seconds). | `expandedAudio.synthesizeLudicrousSpeed` (bespoke method) | **[DOC]** |
+| Dark Helmet Intercom Echo | Cavernous, hollow public address ping preceding Dark Helmet barking orders from the bridge. | **TOS Relay Click** (via `tos` telemetry) | **[OBS]** |
+| Vintage Spaceball Computer | Rapid, analog warble chatter parodying 1960s sci-fi radar consoles. | **TOS Computer Warble** (via `tos` telemetry) | **[OBS]** |
+| Emergency Brake Clonk | Colossal screech and metal crunch when Colonel Sandurz pulls the emergency brake. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` | **[OBS]** |
+
+**Assessment:** `com-spaceball-one` is an audio tour de force. The bespoke method
+`synthesizeLudicrousSpeed()` in `js/audio.js` directly recreates Rydstrom and
+Thom’s screaming accelerator whine. The use of `telemetry.era: 'tos'` provides
+the retro, analog computer chatter that Mel Brooks used to satirize classic
+space-opera tropes.
+
+---
+
+## The parody vs. homage design constraint
+
+In comedy and satirical sci-fi, audio design operates under a strict principle:
+**the joke works only if the world sounds real**.
+
+1. **The Straight Homage (*The Orville*, *Galaxy Quest*):**
+ Neither *The Orville* nor *Galaxy Quest* plays their sound effects for
+ laughs. Their engines, life-support loops, and computer interfaces are
+ engineered with the same technical rigor and fidelity as *Star Trek: The
+ Next Generation* or *Alien*. The humor arises from the characters' dialogue,
+ workplace foibles, and absurdity, while the ship remains a solid, believable
+ anchor. In this app, their presets must maintain pristine, high-fidelity
+ frequencies and balanced envelopes.
+2. **Surrealism & Anthropomorphism (*Heart of Gold*, *Spaceballs*):**
+ Here, the comedy directly infiltrates the machinery. Douglas Adams'
+ technology has emotional neuroses: doors sigh with satisfaction, elevators
+ experience existential dread, and tea machines have nervous breakdowns. In
+ *Spaceballs*, scale is pushed to literal absurdity: engine rooms roar at
+ ear-splitting volumes and accelerators climb to 5.4 kHz. In this app, these
+ ships are given custom synthesis methods (`synthesizeCheerfulDoor`,
+ `synthesizeImprobabilityFlip`, `synthesizeLudicrousSpeed`) that violate
+ standard acoustic constraints to deliver the joke.
+
+---
+
+## Existing element / soundboard relabeling
+
+The `comedy` soundboard (`js/config.js`) maps five interactive trigger buttons
+to audio synthesis methods:
+
+| Soundboard label | Method called | Underlying element origin |
+| --- | --- | --- |
+| CHEERFUL DOOR SIGH | `expandedAudio.synthesizeCheerfulDoor` | Bespoke synthesis: musical 3-stage sine sigh (620 → 840 → 520 Hz) |
+| BERYLLIUM CORE PULSE | `expandedAudio.synthesizeImprobabilityFlip` | Reused triangle reality-flip sweep (1400 → 180 → 2200 → 440 Hz) |
+| TEA DISPENSER GURGLE | `expandedAudio.synthesizeImprobabilityFlip` | Shared with the button above; reused reality-flip sweep |
+| ORVILLE ACK CHIRP | `telemetry.synthesizeLCARSSequence` | Starfleet LCARS three-tone acknowledgment sequence |
+| OMEGA-13 CHARGE | `whoniverseAudio.synthesizeSonicScrewdriver` | Relabeled Doctor Who sonic screwdriver continuous modulation buzz |
+
+In addition, the theme features three event triggers:
+- `btn-ludicrous` ("LUDICROUS SPEED"): Calls `expandedAudio.synthesizeLudicrousSpeed()`,
+ producing a 3.2-second screaming sawtooth climb (60 Hz to 5400 Hz).
+- `btn-improbability` ("IMPROBABILITY FLIP"): Calls `expandedAudio.synthesizeImprobabilityFlip()`.
+- `btn-quantum-jump` ("QUANTUM JUMP"): Calls `alerts.synthesizeWarpJump()`,
+ simulating Planetary Union faster-than-light entry.
+
+---
+
+## Comedy & Adventure existing element retention map
+
+| Existing element | Assigned function | Verdict |
+| --- | --- | --- |
+| Cheerful Door Sigh (`synthesizeCheerfulDoor`) | Sirius Cybernetics GPP doors | Keep — bespoke, highly accurate to Adams' description |
+| Beryllium Core Pulse (`synthesizeImprobabilityFlip`) | Thermian fusion pulse | Serviceable — the rapid frequency jumps convey unstable exotic physics |
+| Tea Dispenser Gurgle (`synthesizeImprobabilityFlip`) | Nutri-Matic tea machine | Mismatch — a fluid gurgle and sputter requires noise filtering, not an electronic frequency sweep |
+| Orville Ack Chirp (`synthesizeLCARSSequence`) | Planetary Union bridge console | Keep — classic three-tone sequence fits MacFarlane’s aesthetic perfectly |
+| Omega-13 Charge (`synthesizeSonicScrewdriver`) | Temporal capacitor charge | Keep for now — sonic buzz functions as an energy charge, though a deep rising capacitor whine would be superior |
+
+---
+
+## Comedy & Adventure gap list
+
+Ranked by impact and feasibility across the five starship profiles:
+
+| # | Sound | Ship(s) | Why it matters | Difficulty |
+| --- | --- | --- | --- | --- |
+| 1 | **Dedicated Tea Dispenser Gurgle** | Heart of Gold | Currently shares `synthesizeImprobabilityFlip()`. A bespoke liquid bubble, gurgle, and steam hiss would directly deliver Adams' Nutri-Matic joke. | Low |
+| 2 | **Beryllium Sphere Resonant Thrum** | NSEA Protector | A deep, glassy, crystalline hum with an internal harmonic vibration, distinguishing the Thermian reactor from Starfleet cores. | Medium |
+| 3 | **Omega-13 Temporal Capacitor Whine** | NSEA Protector | A dedicated sub-bass swell rising into a blinding white-noise temporal snap, replacing the Doctor Who sonic screwdriver. | Medium |
+| 4 | **British Electric Kettle Steam Whistle** | HMS Camden Lock | The defining comedic prop of *Hyperdrive*: a domestic whistling kettle interrupting tense diplomatic encounters. | Low |
+| 5 | **Ludicrous Speed "Plaid" Alarm** | Spaceball One | A comedic klaxon sounding the moment the ship exceeds Ludicrous Speed and enters Plaid. | Low |
+
+---
+
+## Comedy & Adventure open questions
+
+- **[GAP]** The specific synthesizer models and patch parameters used by Gary
+ Rydstrom at Skywalker Sound to generate the original *Spaceball One* engine
+ drone and Ludicrous Speed accelerator.
+- **[GAP]** Whether Jon Greasley’s *The Orville* bridge console chimes were tuned
+ to specific diatonic musical chords to harmonize with Bruce Broughton's and
+ John Debney's orchestral scores.
+- **[GAP]** The exact foley recipe used by the BBC Radiophonic Workshop (Dick
+ Mills) in 1978 for the Nutri-Matic Drinks Synthesiser's liquid dispensing.
+
+### Where to verify (Comedy & Adventure)
+
+- **Skywalker Sound & Mix Magazine**: Historical interviews with Gary Rydstrom
+ and Randy Thom detailing sound design for Mel Brooks’ *Spaceballs*.
+- **CineMontage / Motion Picture Sound Editors (MPSE)**: Production features
+ documenting Richard Beggs and Tim Holland’s work on *Galaxy Quest*.
+- **Post Magazine / King Soundworks**: Technical coverage of Jon Greasley and
+ Seth MacFarlane’s audio post-production workflow on *The Orville*.
+- **BBC Radiophonic Workshop Archive**: Production documentation on Dick
+ Mills’ sound effects for *The Hitchhiker’s Guide to the Galaxy* (1978).
+- **Sound 24 Archives**: Production notes by Glenn Freemantle and Niv Adiri on
+ the 2005 film adaptation of *The Hitchhiker's Guide to the Galaxy*.
+
+---
+
+# Outlaw & Frontier
+
+The "Outlaw / Frontier" theme captures six vessels operating outside galactic
+law, flown by bounty hunters, smugglers, salvagers, and mercenaries:
+- *Alien: Resurrection*, 1997 (The Betty) — Jean-Pierre Jeunet's industrial freighter
+- *Cowboy Bebop*, 1998 (Bebop) — Shinichirō Watanabe's converted fishing trawler
+- *Outlaw Star*, 1998 (Outlaw Star) — Sunrise's advanced Grappler Ship
+- *Blake's 7*, Series 4, 1981 (Scorpio) — Terry Nation's salvaged Wanderer transport
+- *Star Wars: The Bad Batch* (The Marauder) — Clone Force 99's modified attack shuttle
+- *Guardians of the Galaxy*, 2014 (The Milano) — Peter Quill's customized M-Ship
+
+Acoustically, the Outlaw universe is defined by **grease, grit, and mechanical
+vulnerability**. Unlike the pristine symmetry of Starfleet or the high-budget
+comfort of passenger liners, these vessels are unmaintained, jury-rigged, and
+lived-in. They rattle under full thrust, leak hydraulic fluid, and rely on
+analog media — cassette tapes, vacuum tubes, and CB-style radio channels — to
+survive on the fringes of space.
+
+## Layer mapping (Outlaw/Frontier-specific)
+
+| Real concept | App layer | Notes |
+| --- | --- | --- |
+| Hull / engine thrum, lived-in hull vibration, trawler hum | `hull` (`HullDroneSynth`) | Ranging from gritty 50 Hz brown-noise beds on the Betty to hot-rod 62 Hz sweeps on the Milano. |
+| Propulsion / sub-drives, ion thrusters, turbo burners | `warp` (`WarpCoreSynth`) | Aggressive or mechanical pulse rates (38–64 bpm) simulating unmaintained clutches, grappler drives, or high-thrust afterburners. |
+| Ventilation / air handling, greasy galleys, tape hiss | `lifeSupport` (`LifeSupportSynth`) | Brown and pink noise beds with active airflow modulation; air scrubbers struggling with heat, oil, and atmospheric re-entry friction. |
+| Mercenary comms, pirate radio, analog telemetry | `telemetry` (`TelemetrySynth`) | Borrowed Trek eras (`nx`, `tos`, `voyager`, `ds9`) supplying mechanical relay thunks, radio-filtered beeps, or retro sweeps. |
+| Afterburner engage, pirate scrambles, cassette clunks | Events / Soundboard | Bespoke afterburner audio and relabeled interactive trigger buttons. |
+
+---
+
+## Ship-by-ship
+
+### The Betty: Salvage Freighter Mess (Alien: Resurrection, 1997)
+
+**Production context [DOC]:** Directed by Jean-Pierre Jeunet from a screenplay
+by Joss Whedon (which directly inspired Whedon’s later creation of *Firefly* and
+*Serenity*), *Alien: Resurrection* features sound design supervised by
+**John A. Larsen**, with sound designer **Leslie Shatz** and sound effects
+designer **Paul Urmson**.
+
+**[DOC]** *The Betty* is a commercial salvage and smuggling freighter captained
+by Frank Elgyn, crewed by a cynical band of mercenaries including Call (Winona
+Ryder), Johner (Ron Perlman), and Christie. The ship is designed as an unglamorous
+flying junkyard: an asymmetrical, heavily scarred industrial hauler whose
+interiors reek of grease, stale tobacco, and leaking hydraulics.
+
+**[OBS]** Acoustically, *The Betty* is the quintessential **dirty space freighter**:
+- The propulsion core does not emit a smooth magnetic hum; it rattles with
+ grimy, low-frequency diesel-like vibrations, clattering hydraulic clutches,
+ and unshielded engine manifold heat.
+- The galley and mess hall are noisy and utilitarian: bubbling coffee pots,
+ clinking metal cutlery, and the hum of unmaintained fluorescent strip lights.
+- Communications are rough, compressed, and distorted, echoing over pirate
+ radio frequencies with heavy tape hiss and RF static.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Smuggler Mess & Galley | Dark, rattling room tone; brown-noise air handling with fluctuating airflow; metallic clatter from loose pipes in bulkheads. | **[OBS]** |
+| Greasy Propulsion Engine Room | Heavy industrial engine chug (46 bpm, `pulseShape: 'nx'`); unshielded hydraulic pump whine; deep 50 Hz mechanical hull vibration. | **[OBS]** |
+| Cargo Hold & Docking Umbilical | Cavernous, uninsulated metal acoustics; creaking docking latches; hissing coolant lines venting into vacuum. | **[OBS]** |
+
+*Covered by:* preset `out-betty` (`hull`: volume 0.75, `baseFreq: 50`,
+`filterCutoff: 115`, `resonance: 2.8`, `noiseMix: 0.55`; `warp`: volume 0.7,
+`bpm: 46`, `carrierFreq: 64`, `filterCutoff: 180`, `pulseShape: 'nx'`,
+`resonance: 3.4`; `lifeSupport`: volume 0.6, `noiseType: 'brown'`,
+`highpassFreq: 150`, `lowpassFreq: 1500`; `telemetry.era: 'nx'`). Brown noise in
+life support and `pulseShape: 'nx'` capture the grimy, unwashed mechanical
+atmosphere of the salvage hauler.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Hydraulic Clutch Thunk | Heavy, unbuffered mechanical slam as the engine gears engage. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (relabeled as "Fuel Line Valve") | **[OBS]** |
+| Pirate Radio RF Static | Compressed burst of radio frequency noise and dial static between comm transmissions. | `telemetry.synthesizeSensorSweep` (relabeled as "Radio Static Burst") | **[OBS]** |
+| Fuel Line Sputter | Pneumatic valve release with liquid sputter regulating dirty fuel injectors. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+| Smuggler Nav Console Beep | Utilitarian, flat indicator chirp checking docking approach vectors. | **NX Indicator Beep** (via `nx` telemetry) | **[OBS]** |
+
+**Assessment:** `out-betty` is a textbook implementation of industrial sci-fi.
+The combination of brown noise, `nx` engine pulses, and NX hydraulic relays
+accurately portrays a ship held together with spit, duct tape, and stolen
+replacement parts.
+
+---
+
+### Bebop: Living Quarters & Hangar (Cowboy Bebop)
+
+**Production context [DOC]:** Directed by Shinichirō Watanabe at Sunrise (1998),
+*Cowboy Bebop*’s audio was supervised by sound director **Katsumi Mimori**
+(Sound Box), with sound effects design by **Masahiro Shoji**, working in close
+synchrony with composer **Yoko Kanno** and her band, the Seatbelts.
+
+**[DOC]** The *Bebop* is a converted interplanetary fishing trawler owned and
+piloted by ex-cop Jet Black, serving as the mobile home and base of operations for
+bounty hunters Spike Spiegel, Faye Valentine, Edward, and Ein. Built to haul
+massive catches of Ganymede sea-rats, the ship features a rotating central
+centrifuge for artificial gravity, a spacious lower hangar deck storing Spike’s
+*Swordfish II*, Faye’s *Red Tail*, and Jet’s *Hammerhead*, and sub-light
+ion-plasma main thrusters.
+
+**[OBS]** The sound design of the *Bebop* is built on **lived-in analog warmth**:
+- The main engines produce a steady, unhurried 42 bpm thrum reminiscent of an
+ ocean-going marine vessel rather than an aerospace warship.
+- The living quarters and lounge have an intimate, slightly creaky acoustic bed:
+ gurgling plumbing pipes, vintage cathode-ray tube (CRT) television hums,
+ vacuum tube radio warmth, and the clatter of mahjong tiles or cigarette
+ lighters.
+- In the hangar deck, heavy crane servos whine and pneumatic catapult rails hiss
+ as the smaller monoracer fighters launch into the solar system.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Living Quarters & Central Lounge | Warm, vintage room tone (46 Hz base); gentle pink-noise ventilation; faint 60 Hz electrical hum from CRT monitors and analog electronics. | **[OBS]** |
+| Converted Trawler Main Engine | Heavy, rhythmic marine-like diesel/ion chug (42 bpm); steady lowpass-filtered mechanical resonance. | **[OBS]** |
+| Lower Hangar Deck | Cavernous, metallic acoustics; hydraulic crane hums; compressed air hisses around docked fighter craft. | **[OBS]** |
+
+*Covered by:* preset `out-bebop` (`hull`: volume 0.7, `baseFreq: 46`,
+`filterCutoff: 105`, `resonance: 2.4`, `noiseMix: 0.48`; `warp`: volume 0.55,
+`bpm: 42`, `carrierFreq: 58`, `filterCutoff: 150`, `pulseShape: 'nx'`;
+`lifeSupport`: volume 0.6, `noiseType: 'pink'`, `highpassFreq: 160`,
+`lowpassFreq: 1600`; `telemetry.era: 'tos'`). The slow 42 bpm pulse and warm
+pink noise capture the comfortable, slightly dilapidated atmosphere of Jet’s
+trawler.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Hangar Crane Servo Whine | Electric motor whine positioning Spike's Swordfish II onto the launch rail. | `telemetry.synthesizeLCARSSingleChirp` (relabeled as "Grappler Arm Motor") | **[OBS]** |
+| Vintage CRT Terminal Chatter | Retro, stepped-frequency analog computer warbles from Jet's bounty hunting terminal. | **TOS Computer Warble** (via `tos` telemetry) | **[OBS]** |
+| Monoracer Catapult Release | High-pressure pneumatic burst launching a parasite fighter into the vacuum. | `whoniverseAudio.synthesizeFastReturn` (relabeled as "Turbo Jet Burn") | **[OBS]** |
+| Cassette Player Transport Clunk | Mechanical latch clicking when Spike or Faye plays a vintage audio/video tape. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (relabeled) | **[OBS]** |
+
+**Assessment:** The choice of `telemetry.era: 'tos'` provides the analog,
+pre-digital computer chatter that lines up with *Cowboy Bebop*’s 1970s/80s retro-tech
+aesthetic. The preset feels relaxed and domestic, capturing a home that happens
+to travel between the planets.
+
+---
+
+### Outlaw Star: Grappler Bridge (Outlaw Star)
+
+**Production context [DOC]:** Directed by Mitsuru Hongo at Sunrise (1998),
+*Outlaw Star* features sound direction by **Yasuo Uragami** (Audio Planning U)
+and sound effects design by **Akihiko Okuda**.
+
+**[DOC]** The *Outlaw Star* (registry *XGP 15A-II*) is an advanced prototype
+**Grappler Ship**, co-developed by the Space Pirates and the Kei Pirates under
+the Gilliam project, then commandeered by outlaw Gene Starwind. Grappler ships are
+the combat standard of the Frontier: spacecraft outfitted with heavy, articulated
+multipurpose mechanical limbs capable of wielding giant plasma blades, kinetic
+axes, and heavy firearms in zero-G melee combat.
+
+**[DOC]** The vessel is powered by a high-output sub-ether drive and navigated by
+**Melfina**, an artificial biological android housed in a liquid-filled
+computational navigation sphere. Uragami and Okuda created an acoustic profile
+combining high-tech military energy with kinetic mecha combat: screaming
+servos, high-voltage caster weapon capacitors, and an energetic, fast-pulsing
+flight deck.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Grappler Combat Flight Deck | High-energy, tense bridge acoustics; bright 64 Hz sub-drive thrum; rapid 60 bpm pulse rate (`pulseShape: 'defiant'`); active cooling fans running at high RPM. | **[OBS]** |
+| Sub-Ether Propulsion Nexus | Resonant electromagnetic whine; high carrier frequency (82 Hz); wide swirl mix simulating exotic faster-than-light drive coils. | **[OBS]** |
+| Melfina Navigation Core | Tranquil, liquid-damped chamber; soft bubbling; faint, crystalline harmonic resonance contrasting with the furious combat deck. | **[OBS]** |
+
+*Covered by:* preset `out-outlaw-star` (`hull`: volume 0.7, `baseFreq: 64`,
+`filterCutoff: 150`, `resonance: 3.2`, `noiseMix: 0.45`; `warp`: volume 0.75,
+`bpm: 60`, `carrierFreq: 82`, `filterCutoff: 230`, `pulseShape: 'defiant'`,
+`resonance: 4.0`; `lifeSupport`: volume 0.55, `noiseType: 'pink'`,
+`highpassFreq: 200`, `lowpassFreq: 2000`; `telemetry.era: 'voyager'`). High
+frequencies (64 Hz hull, 82 Hz warp) and an aggressive 60 bpm pulse capture a
+high-octane anime combat vessel.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Grappler Arm Hydraulic Stroke | High-torque electric servo whine and hydraulic hiss as the mechanical arms deploy weapons. | `telemetry.synthesizeLCARSSingleChirp` (relabeled) | **[OBS]** |
+| Caster Gun Capacitor Charge | Rising, high-frequency electrical whine building to an explosive spell-shell discharge. | `expandedAudio.synthesizeAfterburner` | **[OBS]** |
+| Gilliam Computer Acknowledge | Crisp, responsive digital two-tone chirp from the ship’s AI computer. | **LCARS Double Chirp** (via `voyager` telemetry) | **[OBS]** |
+| Sub-Drive Afterburner Swell | Roaring sawtooth acceleration burst pushing the ship into evasive maneuvers. | `expandedAudio.synthesizeAfterburner` (triggered via `btn-afterburner`) | **[DOC]** |
+
+**Assessment:** The use of `pulseShape: 'defiant'` at 60 bpm and `voyager`
+telemetry gives the *Outlaw Star* a sharp, responsive, mecha-adjacent audio
+signature that distinguishes it from slower industrial freighters.
+
+---
+
+### Scorpio: Wanderer Salvage Vessel (Blake's 7)
+
+**Production context [DOC]:** Created by Terry Nation for the BBC (Series 4,
+1981), *Blake's 7*’s post-production sound was crafted by **Elizabeth Parker** at
+the **BBC Radiophonic Workshop**, working alongside BBC television dubbing
+editors.
+
+**[DOC]** Following the catastrophic destruction of the alien super-cruiser
+*Liberator* at the end of Series 3, Kerr Avon and his surviving rebel band are
+forced to make their base aboard *Scorpio* — a battered, obsolete, third-hand
+Wanderer K-class commercial salvage transport originally owned by the smuggler
+Dorian. The ship is fitted with an experimental sub-space acceleration booster
+designed by Dorian, and operates under the supervision of **Slave**, an
+apologetic and subservient shipboard computer.
+
+**[OBS]** *Scorpio* represents the absolute nadir of **unglamorous British
+sci-fi hardware**:
+- The drive systems chug and whine with audible strain; power packs overheat
+ and coolant pipes rattle under high-G boosts.
+- The flight console is constructed from salvaged components, with clattering
+ electromechanical switches and harsh analog warning buzzers.
+- The hull groans under the stresses of Avon’s desperate evasion runs, conveying
+ a ship operating far beyond its designed service life.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Flight Deck & Control Consoles | Dry, rattling electromechanical room tone; unrefined 52 Hz generator hum; fluttering cooling fans struggling with ambient heat. | **[OBS]** |
+| Wanderer Sub-Light Engines | Coarse, unshielded reactor chug (46 bpm); clattering drive manifolds; metallic vibration transmitted through structural deckbeams. | **[OBS]** |
+| Equipment Hold & Workshop | Cold, cavernous acoustic space; dripping hydraulic fluid; faint electrical hum of Dorian's salvage tools. | **[OBS]** |
+
+*Covered by:* preset `out-scorpio` (`hull`: volume 0.75, `baseFreq: 52`,
+`filterCutoff: 120`, `resonance: 2.6`, `noiseMix: 0.5`; `warp`: volume 0.6,
+`bpm: 46`, `carrierFreq: 68`, `filterCutoff: 175`, `pulseShape: 'tos'`,
+`resonance: 3.2`; `lifeSupport`: volume 0.55, `noiseType: 'pink'`,
+`highpassFreq: 180`, `lowpassFreq: 1800`; `telemetry.era: 'tos'`). The `tos`
+pulse shape and TOS telemetry provide the dry, 1970s/80s analog BBC soundbed
+characteristic of the series.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Slave Computer Acknowledge | Hesitant, apologetic electronic tone preceding Slave's polite computer announcements. | **TOS Computer Warble** (via `tos` telemetry) | **[OBS]** |
+| Acceleration Booster Engage | Sudden violent turbine surge as Dorian's booster kicks in. | `expandedAudio.synthesizeAfterburner` | **[OBS]** |
+| Power Pack Circuit Breaker | Sharp, heavy relay snap as overloaded power circuits disconnect. | **TOS Relay Click** (via `tos` telemetry) | **[OBS]** |
+| Wanderer Hull Stress Groan | Metallic groan of aging structural welds flexing during high-G deceleration. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` | **[OBS]** |
+
+**Assessment:** `out-scorpio` captures the authentic sound of late-70s / early-80s
+BBC Radiophonic design. Its dry analog relays and strained engine pulse mirror
+the grim, resource-starved reality of Terry Nation’s universe.
+
+---
+
+### The Marauder: Havoc Shuttle Bridge (Star Wars: The Bad Batch)
+
+**Production context [DOC]:** Developed by Dave Filoni (Lucasfilm Animation),
+*The Bad Batch* features sound design supervised by **David Acord** and
+**Matthew Wood** at Skywalker Sound, building upon the foundational Star Wars
+sound library created by **Ben Burtt**.
+
+**[DOC]** The *Havoc Marauder* is a heavily modified, experimental
+*Omicron*-class attack shuttle serving as the mobile home, transport, and
+tactical operations base for Clone Force 99 (Hunter, Wrecker, Tech, Echo,
+Crosshair, and Omega). Following the rise of the Galactic Empire, the squad
+defects, turning their military gunship into a mercenary and smuggler vessel on
+the galactic frontier.
+
+**[OBS]** The sound design is steeped in classic **Star Wars industrial
+tactility**:
+- The propulsion core blends the guttural roar of Twin Ion Engines (TIE) and
+ Lambda shuttle sub-light drives: a deep, aggressive 60 Hz hum pulsing at 52
+ bpm (`pulseShape: 'defiant'`).
+- The cockpit features mechanical toggle switches, tactile avionics, and
+ Tech’s custom-wired electronic scanners chirping with combat telemetry.
+- Interior life support is compact and pressurized, punctuated by the clank of
+ military armor, hydraulic loading ramps, and repulsorlift whine during planetary
+ landings.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Havoc Cockpit & Navigation Station | Tense, tactical room tone; steady avionics cooling blowers; low-level repulsorlift generator whine (60 Hz base). | **[OBS]** |
+| Sub-Light Ion Thrusters | Powerful, aggressive sub-light propulsion thrum (52 bpm); tight electromagnetic resonance (`pulseShape: 'defiant'`). | **[OBS]** |
+| Bunk Area & Tactical Locker | Enclosed, metallic room tone; muffled engine vibration; clean, pressurized military air filtration. | **[OBS]** |
+
+*Covered by:* preset `out-marauder` (`hull`: volume 0.65, `baseFreq: 60`,
+`filterCutoff: 135`, `resonance: 2.8`, `noiseMix: 0.42`; `warp`: volume 0.7,
+`bpm: 52`, `carrierFreq: 78`, `filterCutoff: 200`, `pulseShape: 'defiant'`,
+`resonance: 3.6`; `lifeSupport`: volume 0.55, `noiseType: 'pink'`,
+`highpassFreq: 190`, `lowpassFreq: 1900`; `telemetry.era: 'ds9'`). The `defiant`
+pulse shape gives the shuttle a punchy, military-grade engine heartbeat.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Repulsorlift Landing Hum | Smooth, low-frequency anti-gravity warble holding the shuttle above landing pads. | `expandedAudio.synthesizeSingularityEngage` (partial) | **[OBS]** |
+| Clone Comm Link Chirp | Sharp, military radio chirp acknowledging encrypted squad communications. | **Single Chirp** (via `ds9` telemetry) | **[OBS]** |
+| Hydraulic Ramp Extension | Heavy pneumatic release followed by the solid metallic thunk of the boarding ramp. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+| Hyperdrive Jump Shudder | Deep mechanical winding build followed by the iconic Star Wars hyperspace roar. | `alerts.synthesizeWarpJump` | **[OBS]** |
+
+**Assessment:** `out-marauder` successfully translates the military-surplus
+character of Clone Force 99. The combination of `pulseShape: 'defiant'` with
+tactical telemetry creates an audio environment that feels disciplined yet
+scrappy.
+
+---
+
+### The Milano: M-Ship Cockpit Lounge (Guardians of the Galaxy, 2014)
+
+**Production context [DOC]:** Directed by James Gunn for Marvel Studios,
+*Guardians of the Galaxy* features sound design supervised by Academy Award
+winner **Christopher Boyes** and **David Acord** at Skywalker Sound.
+
+**[DOC]** *The Milano* is an *M-class* space cruiser owned and piloted by
+Peter Quill (Star-Lord), named after his childhood crush Alyssa Milano. The ship
+is a hot-rod spacecraft: agile, heavily modified with dual atmospheric jet
+burners, insectoid swept wings, and twin-deck cockpit-lounge living spaces. Most
+importantly, Quill customized the ship's consoles with Earth-made audio gear: an
+analog cassette deck wired directly into the ship's primary intercom and speaker
+system.
+
+**[OBS]** The sound design is **kinetic, joyful, and tactile**:
+- The main propulsion combines rocket boosters and atmospheric jet burners,
+ delivering a high-energy, high-frequency hum (62 Hz base, 64 bpm).
+- The cockpit lounge is dominated by the analog media experience: cassette tape
+ hiss, the heavy physical clunk of the deck transport latch, the whirr of fast
+ forwarding, and 1970s pop music bleeding through environmental air handlers.
+- The ship’s avionics feature bright, playful Ravager targeting blips, kinetic
+ thruster bursts, and responsive steering thruster gas releases.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Two-Deck Cockpit & Living Lounge | Energetic, bright room tone; warm analog tape noise floor; gentle high-frequency ventilation from environmental scrubbers. | **[OBS]** |
+| Dual Atmospheric Jet Burners | High-octane rocket propulsion thrum (64 bpm, 62 Hz base); wide stereo swirl mix (0.35); powerful sub-light acceleration. | **[OBS]** |
+| Upper Gunner Station | Enclosed, panoramic glass cockpit; quiet flight instrument cooling; faint whistling of atmospheric slipstreams. | **[OBS]** |
+
+*Covered by:* preset `out-milano` (`hull`: volume 0.65, `baseFreq: 62`,
+`filterCutoff: 140`, `resonance: 3.0`, `noiseMix: 0.4`; `warp`: volume 0.7,
+`bpm: 64`, `carrierFreq: 84`, `filterCutoff: 220`, `pulseShape: 'voyager'`,
+`resonance: 3.8`; `lifeSupport`: volume 0.6, `noiseType: 'pink'`,
+`highpassFreq: 210`, `lowpassFreq: 2200`; `telemetry.era: 'voyager'`). High pulse
+tempo (64 bpm) and bright carrier frequencies (84 Hz) produce an energetic,
+hot-rod cockpit bed.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Cassette Player Transport Clunk | Heavy, spring-loaded mechanical latch clicking when the tape player engages Play or Eject. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (relabeled as "Cassette Deck Clunk") | **[DOC]** |
+| Atmospheric Jet Burner Burst | Roaring afterburner flare as Quill pulls high-G combat maneuvers. | `expandedAudio.synthesizeAfterburner` (triggered via `btn-afterburner`) | **[DOC]** |
+| Ravager Targeting Computer | Rapid, bright two-tone confirmation chirp acquiring enemy fighters. | **LCARS Double Chirp** (via `voyager` telemetry) | **[OBS]** |
+| Kinetic Thruster Hiss | Short, pressurized gas burst stabilizing the M-Ship’s swept wings. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+
+**Assessment:** `out-milano` is an audio showcase. The inclusion of the
+`synthesizeAfterburner()` method directly reproduces the Milano's jet-burner
+acceleration, while the soundboard's "Cassette Deck Clunk" pays homage to the
+film’s defining cultural motif.
+
+---
+
+## The "grease and grit" frontier design constraint
+
+In frontier sci-fi, spacecraft are neither sterile laboratory vessels nor
+immaculate flagships: **they are work vehicles**.
+
+1. **Mechanical Vulnerability:**
+ Engines in this universe require maintenance and coaxing. Clutches slip,
+ fuel manifolds clatter, and electrical relays trip under peak load. In this
+ app, Outlaw presets use darker noise mixes (0.4–0.55), lower filter cutoffs,
+ and mechanical pulse shapes (`nx`, `defiant`, `tos`) that convey moving metal
+ rather than clean magnetic field flux.
+2. **Analog & Retro Hardware:**
+ Outlaw technology relies heavily on pre-digital or analog equipment:
+ cassette players (*The Milano*), vacuum tube radios and CRTs (*Bebop*),
+ hydraulic grappler limbs (*Outlaw Star*), and CB radio transceivers
+ (*The Betty*). Synthesis in this universe must resist clean, musical sine
+ chimes in favor of mechanical clicks, tape noise floors, and radio static.
+
+---
+
+## Existing element / soundboard relabeling
+
+The `outlaw` soundboard (`js/config.js`) maps five interactive trigger buttons
+to audio synthesis methods:
+
+| Soundboard label | Method called | Underlying element origin |
+| --- | --- | --- |
+| CASSETTE DECK CLUNK | `expandedAudio.synthesizeDockingClamp` | Relabeled heavy mechanical latch + pneumatic exhaust |
+| GRAPPLER ARM MOTOR | `telemetry.synthesizeLCARSSingleChirp` | Relabeled Starfleet LCARS single panel touch tone |
+| FUEL LINE VALVE | `expandedAudio.synthesizeDockingClamp` | Relabeled heavy mechanical clamp latch |
+| RADIO STATIC BURST | `telemetry.synthesizeSensorSweep` | Relabeled Starfleet long-range sensor frequency glide |
+| TURBO JET BURN | `whoniverseAudio.synthesizeFastReturn` | Relabeled Doctor Who TARDIS fast-return mechanical lever clack |
+
+In addition, the theme features three event triggers:
+- `btn-afterburner` ("AFTERBURNER ENGAGE"): Calls `expandedAudio.synthesizeAfterburner()`,
+ producing a 2.4-second screaming sawtooth frequency climb (80 Hz → 850 Hz → 620 Hz)
+ filtered through bandpass noise.
+- `btn-pirate-scramble` ("PIRATE SCRAMBLE"): Triggers Starfleet red alert klaxons.
+- `btn-sub-drive` ("SUB-DRIVE SWELL"): Calls `expandedAudio.synthesizeEpsteinBurn()`,
+ producing a massive low-frequency drive surge.
+
+---
+
+## Outlaw & Frontier existing element retention map
+
+| Existing element | Assigned function | Verdict |
+| --- | --- | --- |
+| Cassette Deck Clunk (`synthesizeDockingClamp`) | Tape transport mechanism | Mismatch — a docking clamp has too much pneumatic hiss for a handheld Walkman/deck |
+| Grappler Arm Motor (`synthesizeLCARSSingleChirp`) | Servo positioning sound | Mismatch — a smooth musical sine blip does not convey a heavy electric servo motor |
+| Fuel Line Valve (`synthesizeDockingClamp`) | Fuel manifold shutoff | Keep — heavy mechanical clunk works well as an industrial fuel valve |
+| Radio Static Burst (`synthesizeSensorSweep`) | RF communications noise | Mismatch — a clean tonal frequency glide does not sound like white/pink radio static |
+| Turbo Jet Burn (`synthesizeFastReturn`) | Sub-light maneuver burst | Serviceable, though an air-rush burst would be more authentic |
+
+---
+
+## Outlaw & Frontier gap list
+
+Ranked by impact and feasibility across the six starship profiles:
+
+| # | Sound | Ship(s) | Why it matters | Difficulty |
+| --- | --- | --- | --- | --- |
+| 1 | **Dedicated Cassette Transport Clunk & Whirr** | The Milano, Bebop | The single most iconic cultural sound in *Guardians of the Galaxy* and *Bebop*: a heavy, spring-loaded mechanical clunk followed by high-frequency tape motor hum. | Low |
+| 2 | **Grappler Arm Servo Motor Whine** | Outlaw Star, Bebop | Articulated mechanical limbs require a rising/falling electric motor servo whine, replacing Starfleet sine chirps. | Low |
+| 3 | **True RF Radio Static Burst** | The Betty, The Marauder | A short burst of bandpass-filtered white noise simulating CB radio squelch breaks between transmissions. | Low |
+| 4 | **Repulsorlift Engine Drone** | The Marauder | The quintessential *Star Wars* atmospheric repulsorlift sound: a smooth, low-frequency anti-gravity hum. | Medium |
+| 5 | **Converted Marine Trawler Engine Chug** | Bebop | A deep, rhythmic marine diesel-style engine thrum that sells Jet Black's converted fishing boat origin. | Medium |
+
+---
+
+## Outlaw & Frontier open questions
+
+- **[GAP]** The specific mechanical source recorded by Christopher Boyes for
+ Star-Lord’s Walkman cassette player transport clunk in *Guardians of the
+ Galaxy*.
+- **[GAP]** The exact synthesizer patch parameters used by Masahiro Shoji at
+ Sound Box for the *Bebop*’s internal living quarter plumbing and air handling.
+- **[GAP]** The specific foley props used by Leslie Shatz and Paul Urmson to
+ create the greasy engine room clatter on *The Betty* in *Alien: Resurrection*.
+
+### Where to verify (Outlaw & Frontier)
+
+- **Mix Magazine / Skywalker Sound**: In-depth interviews with Christopher
+ Boyes and David Acord detailing sound design for *Guardians of the Galaxy*.
+- **Sound Box / Sunrise Production Notes**: Japanese industry archives
+ documenting Katsumi Mimori and Masahiro Shoji’s sound design on *Cowboy
+ Bebop*.
+- **Cinefex Magazine (Issue 73)**: Detailed technical coverage of *Alien:
+ Resurrection* miniature construction and post-production sound by Leslie
+ Shatz.
+- **BBC Radiophonic Workshop Archive**: Production documentation on Elizabeth
+ Parker’s synthesizer sound design for Series 4 of *Blake's 7*.
+- **Lucasfilm Animation Archives**: Production credits for Matthew Wood and
+ David Acord on *Star Wars: The Bad Batch*.
+
+---
+
+# Military Space
+
+The "Military Space" theme captures seven dedicated warships, strike craft, and
+fleet combat centers engineered strictly for spaceborne warfare:
+- *Aliens*, 1986 (USS Sulaco) — James Cameron’s Conestoga-class assault carrier
+- *Battlestar Galactica*, 2003/2004 (Battlestar Galactica) — Ronald D. Moore’s armored colonial battlestar CIC
+- *Babylon 5*, 1995 (White Star) — J. Michael Straczynski’s Minbari/Vorlon hybrid combat scout
+- *Babylon 5*, 1995 (EAS Agamemnon) — EarthForce Omega-class heavy destroyer
+- *Gene Roddenberry's Andromeda*, 2000 (Andromeda Ascendant) — High Guard Glorious Heritage heavy cruiser
+- *Crusade*, 1999 (Excalibur) — Victory-class heavy combat destroyer
+- *Battlestar Galactica*, 2003/2004 (Colonial Viper Mk II) — Single-seat space superiority interceptor
+
+Acoustically, the Military Space universe is defined by **tactical mass, heavy
+armor attenuation, lethal ordnance, and rapid combat readiness**. Unlike the
+diplomatic elegance of Starfleet bridges or the comfortable air systems of deep-space
+passenger liners, military vessels are dense, functional fortresses. Their
+soundscapes are dominated by sub-bass structural conduction through thick armor
+plate, hydraulic blast gates dogging shut, combat radar sweeps, and the taut,
+claustrophobic tension of combat information centers under fire.
+
+## Layer mapping (Military-specific)
+
+| Real concept | App layer | Notes |
+| --- | --- | --- |
+| Armored hull conduction, reactor thrum, centrifugal gravity rumble | `hull` (`HullDroneSynth`) | Heavy sub-bass beds (44–76 Hz) tuned for structural mass and titanium armor dampening. |
+| Fusion pulse reactors, gravimetric drives, turbo-thruster whine | `warp` (`WarpCoreSynth`) | Combat propulsion pulses (38–72 bpm) spanning heavy capital ship thuds to high-rev interceptor thrusters. |
+| High-capacity NBC scrubbers, pilot G-suit regulators, hangar airlocks | `lifeSupport` (`LifeSupportSynth`) | Utilitarian brown, pink, and white noise air beds running from 140 Hz up to 2600 Hz. |
+| DRADIS sweeps, tactical computers, targeting locks, weapons arming | `telemetry` (`TelemetrySynth`) | Telemetry routing borrowed from Trek eras (`nx`, `ds9`, `voyager`, `tng`) mapped to combat radar, fire control, and relay chatter. |
+| Action stations klaxons, FTL jump thumps, flak barrages | Events / Soundboard | Bespoke FTL vacuum implosions, DRADIS sonar pings, and battle alert states. |
+
+---
+
+## Ship-by-ship
+
+### USS Sulaco: Conestoga Hangar Deck (Aliens, 1986)
+
+**Production context [DOC]:** Directed by James Cameron, *Aliens* won the
+**Academy Award for Best Sound Effects Editing** at the 59th Academy Awards,
+awarded to Supervising Sound Editor **Don Sharpe**. Sharpe and sound editor
+**Adrian Rhodes** established the definitive acoustic benchmark for tactical
+military sci-fi, blending real-world armored military hardware with cold,
+mechanized ship environments.
+
+**[DOC]** The *USS Sulaco* (registered Conestoga-class star transport, vessel
+number 13) is a Colonial Marine assault transport designed specifically to
+deploy motorized infantry, heavy ordnance, and Cheyenne dropships into hostile
+drop zones. Its architecture is purely functional and menacing: an angular,
+rifle-shaped exterior enclosing refrigerated cryo-stasis bays, automated
+munitions tracks, hydraulic dropship elevators, and vast vehicle staging decks.
+
+**[OBS]** The hangar deck acoustic environment is massive, cavernous, and cold:
+- Low-frequency mechanical drone: Heavy sub-bass conduction (44 Hz) reverberates
+ through industrial steel deckplates from the massive sub-light pulse engines
+ and automated ammunition handling conveyors.
+- Pneumatic and hydraulic staging: Massive dropship loading bays operate with
+ pressurized pneumatic air releases, whining hydraulic lifts, and heavy steel
+ locking clamps securing the APC (Armored Personnel Carrier) to deck tie-downs.
+- Life support in standby: Cryo-bay refrigeration ducts and cargo bay air handlers
+ emit a low-pass brown-noise rush (140–1500 Hz), conveying sterile, chilled,
+ unoccupied military isolation.
+- Utilitarian indicator telemetry: Flat, sparse relay clicks and mechanical
+ status pings monitoring weapons racks and airlock door seals.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Conestoga Hangar Deck & Vehicle Staging | Deep, resonant mechanical cavern; heavy structural bass hum; echoing footsteps on grated metal gangways. | **[OBS]** |
+| Sub-Light Pulse Drives (Standby) | Slow, rhythmic 38 bpm engine thrum (`pulseShape: 'nx'`); low 58 Hz carrier frequency vibrating bulkheads. | **[OBS]** |
+| Refrigeration & Cargo Bay Ventilation | Chilled brown-noise air handling (140–1500 Hz); intermittent coolant valve hiss and pneumatic pressure regulation. | **[OBS]** |
+
+*Covered by:* preset `mil-sulaco` (`hull`: volume 0.8, `baseFreq: 44`,
+`filterCutoff: 105`, `resonance: 3.0`, `noiseMix: 0.55`, `harmonicSpread: 1.02`;
+`warp`: volume 0.6, `bpm: 38`, `carrierFreq: 58`, `filterCutoff: 150`,
+`pulseShape: 'nx'`, `resonance: 3.2`, `swirlMix: 0.25`; `lifeSupport`: volume
+0.65, `noiseType: 'brown'`, `highpassFreq: 140`, `lowpassFreq: 1500`,
+`airflowModSpeed: 0.1`, `airflowModDepth: 0.14`; `telemetry.volume: 0.4`,
+`density: 0.45`, `telemetry.era: 'nx'`). Brown noise in life support combined
+with slow 38 bpm NX engine pulses perfectly replicates the chilled, dormant
+lethality of the Sulaco’s vehicle bay.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Dropship Bay Clamping Latch | Heavy mechanical steel latch securing the dropship landing gear. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (relabeled as "Bulkhead Seal") | **[OBS]** |
+| Hangar Deck Airlock Vent | Sudden burst of pressurized gas venting atmosphere prior to bay door transit. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+| Tactical Weapons Rack Indicator | Utilitarian mechanical switch click signaling ordnance rack power. | `telemetry.synthesizeLCARSSingleChirp` (relabeled as "Weapons Armed") | **[OBS]** |
+| Cargo Hoist Hydrolock | Sub-bass metallic thud as overhead motorized munitions cranes stop. | **NX Relay Thunk** (via `nx` telemetry) | **[OBS]** |
+
+**Assessment:** `mil-sulaco` captures the grim, utilitarian weight of James
+Cameron’s military universe. The heavy sub-bass hull frequency (44 Hz) and brown
+noise bed accurately recreate the subterranean isolation of an automated
+battleship in transit.
+
+---
+
+### Battlestar Galactica: Combat Information Center (Battlestar Galactica, 2003/2004)
+
+**Production context [DOC]:** The reimagined *Battlestar Galactica* miniseries
+and television series featured sound design led by Supervising Sound Editor
+**Daniel Colman** and Sound Supervisor **Jack Levy**. Colman won the **Primetime
+Emmy Award for Outstanding Sound Editing for a Series** in 2009 (for "Daybreak,
+Part 2") and received four additional Emmy nominations. Colman’s signature aesthetic
+was hyper-realism: acoustic isolation inside armored hulls, physical sound-powered
+telephones, mechanical plotting tables, and vacuum-filtered weapons fire.
+
+**[DOC]** The *Battlestar Galactica* (BS-75) is a fifty-year-old Jupiter-class
+battlestar. Because the original Cylon War was fought against synthetic network
+infiltrators, the ship intentionally lacks computer networking. All vital systems
+operate via isolated, hardened hardwired circuits, mechanical plotters, and analog
+sound-powered telephone handsets.
+
+**[OBS]** The Combat Information Center (CIC) soundscape is a masterclass in
+**armored confinement and acoustic tension**:
+- Armored titanium hull isolation: Because the battlestar is surrounded by
+ meters of solid armor and honeycomb bulkheads, external combat noise is muted
+ into deep, concussive thuds. The CIC sits dead center in the ship, protected
+ from direct vacuum.
+- The DRADIS sonar ping: The centerpiece of Colonial fleet situational awareness
+ is the DRADIS (Direction, Range, and Distance Information System), emitting a
+ distinctive high-frequency resonant acoustic ping descending in frequency as
+ radar beams sweep space (`synthesizeDradisPing()`).
+- Tactile analog hardware: Handset receivers clatter against metal cradles,
+ plotting grease markers scrape acrylic boards, and mechanical rotary switches
+ click in constant coordination with damage control parties.
+- The FTL jump vacuum thump: Colonial Faster-Than-Light drives fold space instantly,
+ creating an implosive vacuum displacement characterized by a massive sub-bass
+ thud and high-frequency spatial whip (`synthesizeFtlJump()`).
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Armored CIC Command Deck | Dense, enclosed titanium hull vibration (48 Hz base); humming command consoles; muted ventilation currents circulating through central ducts. | **[DOC]** |
+| Main Sub-light Tylium Drives | Deep, low-cadence engine pulse (46 bpm, `pulseShape: 'nx'`); steady 64 Hz magnetic reactor hum vibrating plotting tables. | **[OBS]** |
+| Environmental Air Scrubbers | Continuous pink-noise air handling (170–1700 Hz); vital airflow sustaining a pressurized combat crew in prolonged lockdown. | **[OBS]** |
+
+*Covered by:* preset `mil-galactica` (`hull`: volume 0.75, `baseFreq: 48`,
+`filterCutoff: 115`, `resonance: 2.8`, `noiseMix: 0.5`, `harmonicSpread: 1.025`;
+`warp`: volume 0.7, `bpm: 46`, `carrierFreq: 64`, `filterCutoff: 180`,
+`pulseShape: 'nx'`, `resonance: 3.5`, `swirlMix: 0.3`; `lifeSupport`: volume
+0.6, `noiseType: 'pink'`, `highpassFreq: 170`, `lowpassFreq: 1700`,
+`airflowModSpeed: 0.12`, `airflowModDepth: 0.12`; `telemetry.volume: 0.5`,
+`density: 0.55`, `telemetry.era: 'ds9'`). DS9 telemetry supplies militaristic,
+low-register relay chirps that blend seamlessly with the analog plotting
+hardware.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| DRADIS Radar Sweep Ping | Distinctive dual-tone tactical radar sweep ping (1860 Hz down to 1540 Hz) with resonant combat tail. | `ExpandedSciFiAudioSynth.synthesizeDradisPing` (Soundboard: "DRADIS Scan Ping") | **[DOC]** |
+| FTL Jump Space Displacement | Violent vacuum collapse and hull snap dropping 800 Hz down to 45 Hz sub-bass rumble. | `ExpandedSciFiAudioSynth.synthesizeFtlJump` (Event: "FTL Jump") | **[DOC]** |
+| Point Defense Flak Barrage | Heavy, concussive explosive thud of 500mm dual-flak cannons creating an anti-missile curtain. | `ExpandedSciFiAudioSynth.synthesizeFtlJump` (Event: "Flak Barrage") | **[OBS]** |
+| Combat Telephone Relay Click | Crisp analog switch contact connecting damage control stations to the center table. | `telemetry.synthesizeLCARSSingleChirp` (relabeled as "Weapons Armed") | **[OBS]** |
+
+**Assessment:** `mil-galactica` is one of the most authentic tactical soundscapes
+in the application. The combination of Daniel Colman's DRADIS sweep, the FTL
+concussive thump, and the heavy 48 Hz hull bed transports the listener directly
+onto Adama’s command balcony.
+
+---
+
+### White Star: Minbari/Vorlon Hybrid Bridge (Babylon 5, 1995–1998)
+
+**Production context [DOC]:** Created and written by **J. Michael Straczynski**,
+*Babylon 5*’s audio environment was crafted by Supervising Sound Editor
+**Andrew DeCristofaro**, sound editor **Michael Payne**, sound designer
+**Harry Cohen**, and former Tangerine Dream member **Christopher Franke**, who
+composed the electronic score and synthesized sound textures.
+
+**[DOC]** The *White Star* is a revolutionary warship co-designed by Minbari
+religious caste engineers and the ancient, enigmatic Vorlons. Small, hyper-agile,
+and armed with heavy quantum pulse cannons, it features a living organic hull
+composed of Vorlon bio-armor that learns and adapts to enemy energy signatures.
+
+**[OBS]** The bridge of the *White Star* differs sharply from industrial Earth
+vessels:
+- Organic crystalline resonance: Rather than steel deck clatter, the bridge
+ emits a luminous, high-pitched structural resonance (66 Hz base, with harmonic
+ spread 1.035). The living hull hums with latent bio-energy.
+- Gravimetric propulsion whisper: Vorlon-derived gravimetric propulsion does not
+ thud or chug; it creates an agile, fast-cycling magnetic pulse (58 bpm,
+ `pulseShape: 'voyager'`) centered at an 88 Hz carrier tone.
+- Tactile control surfaces: Minbari consoles feature no physical buttons or
+ switches. Flight controls and tactical arrays respond to organic touchplates,
+ emitting melodious, chime-like telemetry feedback.
+- Pulse cannon capacitor surge: Energy weapons draw directly from the Vorlon
+ power core, producing a rising crystalline whine before unleashing heavy
+ green plasma bursts.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Living Bio-Armor Bridge Shell | Resonant crystalline hum (66 Hz base); high filter cutoff (145 Hz); subtle, organic harmonic shimmer vibrating living bulkheads. | **[OBS]** |
+| Gravimetric Agility Drive | Smooth, high-frequency propulsion oscillation (58 bpm, `pulseShape: 'voyager'`); 88 Hz carrier frequency with rich 0.4 swirl mix. | **[OBS]** |
+| Environmental Bio-Atmosphere | Clean, high-pass pink-noise airflow (210–2100 Hz); gentle airflow cycling simulating biological respiration. | **[OBS]** |
+
+*Covered by:* preset `mil-white-star` (`hull`: volume 0.6, `baseFreq: 66`,
+`filterCutoff: 145`, `resonance: 3.2`, `noiseMix: 0.35`, `harmonicSpread: 1.035`;
+`warp`: volume 0.8, `bpm: 58`, `carrierFreq: 88`, `filterCutoff: 230`,
+`pulseShape: 'voyager'`, `resonance: 4.2`, `swirlMix: 0.4`; `lifeSupport`: volume
+0.5, `noiseType: 'pink'`, `highpassFreq: 210`, `lowpassFreq: 2100`,
+`airflowModSpeed: 0.15`, `airflowModDepth: 0.1`; `telemetry.volume: 0.5`,
+`density: 0.65`, `telemetry.era: 'voyager'`). High base frequencies and Voyager
+telemetry cleanly convey the alien, advanced technological superiority of
+Minbari/Vorlon bio-engineering.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Minbari Touchplate Chime | Resonant melodic chime acknowledging helm navigation input. | `telemetry.synthesizeSensorSweep` (relabeled as "Radar Target Lock") | **[OBS]** |
+| Quantum Pulse Cannon Charge | Rising electromagnetic whine as the forward discharge arrays energize. | `WhoniverseAudioSynth.synthesizeFastReturn` (relabeled as "Turbo-Thruster Swell") | **[OBS]** |
+| Bio-Armor Damage Adaptation | Organic flex and crystalline tension sound as the hull hardens against fire. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (relabeled as "Bulkhead Seal") | **[OBS]** |
+| Vorlon Telepathic Interface Ping | Pure, harmonic high-frequency indicator signaling core readiness. | `telemetry.synthesizeLCARSSingleChirp` (relabeled as "Weapons Armed") | **[OBS]** |
+
+**Assessment:** `mil-white-star` provides an indispensable contrast to human
+warships. By elevating hull base frequency to 66 Hz and utilizing Voyager’s
+softer, chime-like telemetry, it sounds advanced, agile, and unmistakably alien.
+
+---
+
+### EAS Agamemnon: Omega Destroyer Bridge (Babylon 5, 1995–1998)
+
+**Production context [DOC]:** Created by **J. Michael Straczynski**, with sound
+design supervised by **Andrew DeCristofaro** and **Michael Payne** at Soundelux.
+The *EAS Agamemnon* (commanded by Captain John Sheridan before his assignment to
+Babylon 5) represents the apex of human military engineering in the EarthForce
+navy during the mid-2250s.
+
+**[DOC]** The Omega-class heavy destroyer is a massive, heavily armored capital
+ship over 1.7 kilometers long. Because EarthForce has not yet mastered artificial
+gravimetrics, the ship features a massive central rotating habitat section
+(carousel) that spins at approximately 1 rpm to generate artificial gravity for
+the crew via centrifugal force.
+
+**[OBS]** The bridge of an Omega destroyer is raw, militaristic, and industrial:
+- Centrifugal rotation rumble: The continuous rotation of the central habitat
+ section transmits a heavy, rhythmic low-frequency mechanical rumble (46 Hz base)
+ through the ship’s central spine into the non-rotating forward bridge module.
+- Heavy plasma cannon capacitors: EarthForce heavy plasma cannons require massive
+ capacitor banks that hum with high-voltage electrical tension during combat
+ readiness.
+- Utilitarian command deck: Hard angles, steel bulkheads, and tactical workstations
+ creak under structural acceleration stresses. Telemetry is functional, dry,
+ and militaristic.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Omega Forward Command Deck | Dense, industrial hull rumble (46 Hz base); high noise mix (0.55); vibration conducted forward from the rotating habitat spine. | **[OBS]** |
+| Main Fusion Pulse Reactor | Rhythmic 42 bpm pulse (`pulseShape: 'defiant'`); 60 Hz carrier tone driving heavy spinal thrusters. | **[OBS]** |
+| Military Environmental Scrubbers | Robust pink-noise ventilation (180–1800 Hz); continuous airflow cycling through sealed armored compartments. | **[OBS]** |
+
+*Covered by:* preset `mil-agamemnon` (`hull`: volume 0.8, `baseFreq: 46`,
+`filterCutoff: 110`, `resonance: 3.0`, `noiseMix: 0.55`, `harmonicSpread: 1.02`;
+`warp`: volume 0.7, `bpm: 42`, `carrierFreq: 60`, `filterCutoff: 170`,
+`pulseShape: 'defiant'`, `resonance: 3.6`, `swirlMix: 0.3`; `lifeSupport`: volume
+0.6, `noiseType: 'pink'`, `highpassFreq: 180`, `lowpassFreq: 1800`,
+`airflowModSpeed: 0.14`, `airflowModDepth: 0.12`; `telemetry.volume: 0.45`,
+`density: 0.5`, `telemetry.era: 'ds9'`). The `defiant` pulse shape and DS9
+telemetry perfectly embody the blunt, utilitarian combat engineering of
+EarthForce warships.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Heavy Plasma Cannon Firing | Heavy, explosive discharge followed by capacitor drainage whine. | `ExpandedSciFiAudioSynth.synthesizeFtlJump` (Event: "Flak Barrage") | **[OBS]** |
+| Armored Blast Shield Closure | Lowpass mechanical grind and heavy clamp closure over the forward viewport. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (relabeled as "Bulkhead Seal") | **[OBS]** |
+| EarthForce Interceptor Lock | Multi-frequency chirping tones locking forward missile batteries on hostile targets. | `telemetry.synthesizeSensorSweep` (relabeled as "Radar Target Lock") | **[OBS]** |
+| Habitat Carousel Gyro Actuator | Low-frequency hydraulic surge balancing rotational torque during maneuvers. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+
+**Assessment:** `mil-agamemnon` captures the mechanical grit and centrifugal
+physics of human warships in *Babylon 5*. Its heavy bass tone and Defiant-style
+pulses convey the raw industrial power of an armored dreadnought.
+
+---
+
+### Andromeda Ascendant: Command Deck (Gene Roddenberry's Andromeda, 2000–2005)
+
+**Production context [DOC]:** Developed from notes and concepts left by Gene
+Roddenberry by showrunner **Robert Hewitt Wolfe**, *Andromeda* featured sound
+design supervised by **Michael Geisler**, **Steven Erdelyi**, and sound editor
+**Matthew Wilson**. The audio design had to reflect a warship that was not only a
+lethal heavy cruiser, but also a sentient, living artificial intelligence.
+
+**[DOC]** The *Andromeda Ascendant* (tenth Glorious Heritage-class heavy cruiser,
+High Guard ship of the line) is a kilometer-long warship armed with 40 missile
+tubes, point defense lasers (PDL), and anti-proton arrays. The ship is powered by
+an Antiproton / Proton Reaction engine and travels via the Slipstream. Its most
+prominent feature is its AI, Rommie (Lexa Doig), who manifests as a hologram, an
+on-screen avatar, and an android body.
+
+**[OBS]** The command deck audio landscape is clean, sophisticated, and lethal:
+- Slipstream drive resonance: Slipstream travel operates by navigating quantum
+ strings, producing a high-frequency, complex gravimetric hum (56 Hz base,
+ 76 Hz carrier, 54 bpm `tng` pulse) that vibrates through the command pod.
+- Sentient AI computer chirps: Unlike cold, inanimate displays, the command deck
+ chitters with intelligent, high-density telemetry as Rommie continuously
+ monitors millions of sensor nodes and coordinates missile batteries.
+- Anti-proton missile magazine servos: Below the deck, automated missile carousels
+ whine and click as offensive and defensive kinetic kill missiles are loaded into
+ vertical launch tubes.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| High Guard Command Deck | Polished, advanced composite hull hum (56 Hz base); refined structural resonance; high-tech acoustics with minimal mechanical vibration. | **[OBS]** |
+| Antiproton Slipstream Drive | Harmonious 54 bpm engine pulse (`pulseShape: 'tng'`); 76 Hz carrier tone with a generous 0.35 swirl mix. | **[OBS]** |
+| Environmental Life Support | Smooth, balanced pink-noise airflow (200–1900 Hz); regulated climate control for multi-species Commonwealth crews. | **[OBS]** |
+
+*Covered by:* preset `mil-andromeda` (`hull`: volume 0.7, `baseFreq: 56`,
+`filterCutoff: 130`, `resonance: 2.8`, `noiseMix: 0.45`, `harmonicSpread: 1.025`;
+`warp`: volume 0.75, `bpm: 54`, `carrierFreq: 76`, `filterCutoff: 210`,
+`pulseShape: 'tng'`, `resonance: 3.8`, `swirlMix: 0.35`; `lifeSupport`: volume
+0.55, `noiseType: 'pink'`, `highpassFreq: 200`, `lowpassFreq: 1900`,
+`airflowModSpeed: 0.12`, `airflowModDepth: 0.1`; `telemetry.volume: 0.5`,
+`density: 0.6`, `telemetry.era: 'tng'`). TNG telemetry and pulse shapes give the
+Andromeda the polished, benevolent sophistication of the Systems Commonwealth.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Slipstream Portal Entry Hum | Rising gravimetric distortion as the ship’s forward needles open a slipstream event horizon. | `WhoniverseAudioSynth.synthesizeFastReturn` (relabeled as "Turbo-Thruster Swell") | **[OBS]** |
+| Rommie AI Acknowledgment Pip | Musical, high-density chime confirming captain’s tactical orders. | `telemetry.synthesizeLCARSSingleChirp` (relabeled as "Weapons Armed") | **[OBS]** |
+| Point Defense Laser (PDL) Sweep | Rapid high-register tracking warble locking incoming kinetic salvos. | `telemetry.synthesizeSensorSweep` (relabeled as "Radar Target Lock") | **[OBS]** |
+| EKV Missile Tube Hatch Slam | Pneumatic seal closing after an Extraordinary Kinetic Vehicle is launched. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (relabeled as "Bulkhead Seal") | **[OBS]** |
+
+**Assessment:** `mil-andromeda` blends high-technology elegance with heavy fleet
+capability. The TNG-derived telemetry and 56 Hz hull tone capture the feel of a
+pristine Commonwealth capital ship.
+
+---
+
+### Excalibur: Victory-Class Heavy Combat Core (Crusade, 1999)
+
+**Production context [DOC]:** A spin-off of *Babylon 5*, *Crusade* featured sound
+editing and design by **Michael Payne**, **Harry Cohen**, and **Jeff K. Brunello**.
+The series followed the prototype destroyer *Excalibur* on an urgent mission to
+find a cure for the Drakh plague.
+
+**[DOC]** The *Excalibur* is a Victory-class heavy destroyer, representing the
+ultimate synthesis of EarthForce industrial shipbuilding and advanced Minbari/Vorlon
+technology. Measuring nearly two kilometers long, it is equipped with a devastating
+main quantum discharge cannon capable of destroying planet-killer vessels with a
+single concentrated blast.
+
+**[OBS]** The heavy combat core audio bed is defined by **immense power and stress**:
+- Massive hybrid gravitic core: The combination of Earth fusion reactors and
+ Minbari gravimetric drives creates an enormous, muscular engine thrum (50 Hz base,
+ 72 Hz carrier, 50 bpm `defiant` pulse) with intense resonant filtering.
+- Quantum discharge cannon capacitor load: Firing the main gun drains almost all
+ primary ship power, accompanied by a deafening electromagnetic capacitor drone
+ that reverberates through every deck.
+- Heavy structural resilience: Built to withstand direct impacts from shadow
+ and drakh weaponry, the ship’s massive frame groans under combat maneuvers.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Victory-Class Armored Core | Heavy, dense hull resonance (50 Hz base); high resonance factor (3.4); palpable mechanical mass vibrating structural bulkheads. | **[OBS]** |
+| Hybrid Gravimetric / Fusion Drive | Powerful 50 bpm propulsion cadence (`pulseShape: 'defiant'`); 72 Hz carrier frequency with rich 0.38 swirl mix. | **[OBS]** |
+| Heavy-Duty Life Support Recirculators | Robust pink-noise ventilation (190–1800 Hz); heavy airflow distribution servicing multi-tier engineering bays. | **[OBS]** |
+
+*Covered by:* preset `mil-excalibur` (`hull`: volume 0.8, `baseFreq: 50`,
+`filterCutoff: 125`, `resonance: 3.4`, `noiseMix: 0.5`, `harmonicSpread: 1.03`;
+`warp`: volume 0.85, `bpm: 50`, `carrierFreq: 72`, `filterCutoff: 220`,
+`pulseShape: 'defiant'`, `resonance: 4.0`, `swirlMix: 0.38`; `lifeSupport`: volume
+0.55, `noiseType: 'pink'`, `highpassFreq: 190`, `lowpassFreq: 1800`,
+`airflowModSpeed: 0.14`, `airflowModDepth: 0.12`; `telemetry.volume: 0.45`,
+`density: 0.55`, `telemetry.era: 'ds9'`). The combination of high warp volume (0.85)
+and the `defiant` pulse shape accurately reflects the sheer destructive kinetic
+weight of the Victory-class combat core.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Main Quantum Discharge Whine | Sub-bass capacitor whine ramping up across primary electrical buses. | `WhoniverseAudioSynth.synthesizeFastReturn` (relabeled as "Turbo-Thruster Swell") | **[OBS]** |
+| Tactical Shield Hardening | Resonant acoustic click as gravitational deflectors adjust against incoming beams. | `telemetry.synthesizeSensorSweep` (relabeled as "Radar Target Lock") | **[OBS]** |
+| Forward Blast Gate Dogging | Deep metallic clamp latch securing forward weapon emitters. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (relabeled as "Bulkhead Seal") | **[OBS]** |
+| Combat Grid Munitions Warning | High-priority tactical chime confirming primary weapon lock. | `telemetry.synthesizeLCARSSingleChirp` (relabeled as "Weapons Armed") | **[OBS]** |
+
+**Assessment:** `mil-excalibur` delivers exceptional punch. The heavy 50 Hz base,
+0.85 warp volume, and Defiant pulse shape convey an unyielding dreadnought built
+for catastrophic fleet engagements.
+
+---
+
+### Colonial Viper Mk II: Cockpit Atmosphere (Battlestar Galactica, 2003/2004)
+
+**Production context [DOC]:** Sound design created by **Daniel Colman** and
+**Jack Levy**. The Colonial Viper Mk II is the iconic single-seat carrier-borne
+space superiority fighter of the Twelve Colonies. For the cockpit soundscape,
+Colman drew inspiration from combat flight recordings of modern jet fighters
+(such as the F-16 and F/A-18), focusing on the pilot's intimate sensory
+isolation, pressurized breathing, and raw engine vibrations conducted directly
+through the flight seat.
+
+**[DOC]** The Viper Mk II is an atmospheric-capable space fighter powered by a
+single sub-light Tylium fusion reactor feeding twin turbo-thrusters. It features
+reaction control system (RCS) maneuvering jets for non-Newtonian spins and flips
+in combat. The cockpit is tiny, cramped, and stripped of luxury: the pilot wears a
+full pressure suit with a sealed flight helmet and is surrounded by analog gauges,
+a DRADIS tracking scope, and mechanical thruster pedals.
+
+**[OBS]** The cockpit acoustic profile is radically different from capital
+ships:
+- Intimate pilot isolation: Rather than open room reverberation, the listener
+ is inside the pilot's helmet. Life support is dominated by high-velocity white
+ noise (240–2600 Hz) representing pure oxygen rushing through helmet valves and
+ the G-suit regulator during tight maneuvers.
+- Twin turbo-thruster whine: The engines do not emit a low sub-bass thud; they
+ scream with a high-pitched, fast-revving 72 bpm whine (`pulseShape: 'voyager'`)
+ centered at 94 Hz, directly transmitting vibration through the airframe into
+ the control stick.
+- High-cadence cockpit telemetry: The cockpit DRADIS and targeting scopes ping
+ constantly, providing audio cues for missile locks, Cylon Raider proximity,
+ and RCS fuel consumption.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Cramped Pressurized Cockpit Shell | Tight, uninsulated fighter frame vibration (76 Hz base); high filter cutoff (175 Hz); immediate tactile conduction from twin engines. | **[DOC]** |
+| Twin Turbo-Thruster Core | Rapid, aggressive 72 bpm propulsion whine (`pulseShape: 'voyager'`); high 94 Hz carrier frequency with 0.3 swirl mix. | **[DOC]** |
+| Flight Suit Oxygen Regulator & Air Rush | Sharp, pressurized white-noise airflow (240–2600 Hz); rapid airflow modulation (0.22 speed, 0.18 depth) simulating helmet breathing. | **[DOC]** |
+
+*Covered by:* preset `mil-viper` (`hull`: volume 0.65, `baseFreq: 76`,
+`filterCutoff: 175`, `resonance: 3.2`, `noiseMix: 0.4`, `harmonicSpread: 1.04`;
+`warp`: volume 0.7, `bpm: 72`, `carrierFreq: 94`, `filterCutoff: 250`,
+`pulseShape: 'voyager'`, `resonance: 4.2`, `swirlMix: 0.3`; `lifeSupport`: volume
+0.65, `noiseType: 'white'`, `highpassFreq: 240`, `lowpassFreq: 2600`,
+`airflowModSpeed: 0.22`, `airflowModDepth: 0.18`; `telemetry.volume: 0.6`,
+`density: 0.7`, `telemetry.era: 'voyager'`). White noise in life support combined
+with high base frequency (76 Hz) and fast 72 bpm warp cadence brilliantly creates
+the claustrophobic, high-G intensity of a fighter cockpit.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| DRADIS Threat Scope Ping | Rapid tactical tracking ping alerting the pilot to a Cylon missile or raider in the six o’clock position. | `ExpandedSciFiAudioSynth.synthesizeDradisPing` (Soundboard: "DRADIS Scan Ping") | **[DOC]** |
+| Turbo-Thruster Afterburner Boost | High-revving engine scream as the pilot engages full throttle or turns inside an intercept vector. | `WhoniverseAudioSynth.synthesizeFastReturn` (relabeled as "Turbo-Thruster Swell") | **[DOC]** |
+| Kinetic Cannon Trigger Snap | Mechanical switch click on the flight stick activating twin 30mm MEC-38 kinetic energy guns. | `telemetry.synthesizeLCARSSingleChirp` (relabeled as "Weapons Armed") | **[OBS]** |
+| RCS Maneuvering Jet Burst | Short pneumatic hiss as cold-gas thrusters flip the nose 180 degrees. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[DOC]** |
+
+**Assessment:** `mil-viper` is an acoustic triumph. By breaking away from low-frequency
+capital ship rumble into high-frequency white noise (2600 Hz cutoff) and a 76 Hz
+hull base, it delivers an authentic, adrenaline-charged dogfighting perspective.
+
+---
+
+## Design constraint: Armored hull vs. unshielded cockpit
+
+The Military Space universe highlights a fundamental acoustic divergence in sci-fi
+sound design: the contrast between **deeply buried combat information centers**
+and **unshielded strike craft cockpits**:
+
+```
++-------------------------------------------------------------------------+
+| TACTICAL ACOUSTIC ARCHITECTURE |
++-------------------------------------------------------------------------+
+| |
+| CAPITAL BATTLESHIPS (Galactica, Sulaco, Agamemnon) |
+| - Deep internal citadel isolated behind meters of armor plating |
+| - Acoustic energy heavily low-pass filtered (cutoff: 105 - 115 Hz) |
+| - Concussive sub-bass structural conduction (44 - 48 Hz base) |
+| - Muffled external ordnance; heavy mechanical relays and dogging doors |
+| - Cadence: Slow, deliberate, heavy combat pacing (38 - 46 bpm) |
+| |
+| STRIKE INTERCEPTORS (Colonial Viper Mk II) |
+| - Tiny pressurized canopy inches from vacuum and engine nacelles |
+| - Acoustic energy shifts upward into treble (cutoff: 175 - 250 Hz) |
+| - Higher hull frame vibration (76 Hz base, 94 Hz carrier) |
+| - Helmet-enclosed white noise life support (240 - 2600 Hz) |
+| - Cadence: Rapid, high-G kinetic combat urgency (72 bpm) |
+| |
++-------------------------------------------------------------------------+
+```
+
+1. **Battleship Armor Filtering & Structural Mass:** In capital combatants like
+ *Battlestar Galactica*, the *USS Sulaco*, and the *EAS Agamemnon*, the crew
+ operates deep within armored citadels designed to absorb kinetic and nuclear hits.
+ Internal room tone is heavily lowpass-filtered (cutoffs 105–115 Hz), dominated
+ by massive sub-bass conduction (44–48 Hz) through structural frames, sluggish
+ mechanical relays, and heavily muffled exterior ordnance. Communications rely
+ on dedicated wired circuits or low-frequency tactical arrays.
+2. **Interceptor Cockpit Exposure & High-Frequency Transients:** In contrast, a
+ fighter cockpit like the Colonial Viper Mk II has negligible armor and no
+ sound-dampening bulkheads. The pilot is surrounded by a pressurized canopy,
+ breathing pure oxygen through a helmet mask, and sitting directly ahead of twin
+ high-thrust reaction thrusters. Acoustic energy shifts dramatically upward: base
+ frequencies rise to 76 Hz, filter cutoff opens to 175–250 Hz, life support
+ switches from muffled pink/brown noise to high-velocity white noise rushing
+ through air valves (240–2600 Hz), and pulse cadence spikes to 72 bpm.
+
+This structural contrast dictates that `military` presets cannot share a uniform bed:
+battleships demand deep, heavy bass confinement, while interceptors demand claustrophobic,
+high-frequency kinetic urgency.
+
+---
+
+## Soundboard relabeling (Military Space)
+
+In `js/config.js`, the `military` universe overrides the soundboard and event
+buttons to match the tactical, combat-ready character of fleet operations:
+
+| Button ID | Generic action / sound | Military label | Runtime trigger method | Acoustic output |
+| --- | --- | --- | --- | --- |
+| `btn-dradis-ping` | Sonar ping sweep | **DRADIS SCAN PING** | `expandedAudio.synthesizeDradisPing` | 1860 Hz down to 1540 Hz sine sweep over 80ms with resonant combat radar decay. |
+| `btn-switch-pop` | High-frequency telemetry chirp | **WEAPONS ARMED** | `telemetry.synthesizeLCARSSingleChirp` | Clean tactical authorization pip signaling munitions lock. |
+| `btn-dock-clamp` | Heavy docking clamp engage | **BULKHEAD SEAL** | `expandedAudio.synthesizeDockingClamp` | Lowpass-filtered metallic latch and pneumatic dogging of combat blast doors. |
+| `btn-chirp-sweep` | Sensor sweep up | **RADAR TARGET LOCK** | `telemetry.synthesizeSensorSweep` | Multi-tone rising frequency lock confirming firing solution. |
+| `btn-fast-return` | TARDIS fast-return switch | **TURBO-THRUSTER SWELL** | `whoniverseAudio.synthesizeFastReturn` | High-speed pitch ramp simulating fighter boost or thruster surge. |
+
+### Event buttons (Military Space)
+
+| Event Button ID | Trigger label | Event handler / method | Acoustic output |
+| --- | --- | --- | --- |
+| `btn-action-stations` | **ACTION STATIONS** | `alerts.triggerRedAlert('tng')` | Continuous two-tone klaxon (TNG-style alert oscillator) with flashing red alert UI. |
+| `btn-ftl-jump` | **FTL JUMP** | `expandedAudio.synthesizeFtlJump` | Lowpass-filtered brown noise burst dropping 800 Hz to 45 Hz with hull resonance release. |
+| `btn-flak` | **FLAK BARRAGE** | `expandedAudio.synthesizeFtlJump` | Low-frequency concussive boom simulating explosive point-defense curtain. |
+
+---
+
+## Element retention map (Military Space)
+
+Every preset in the `military` universe uses existing synthesizer classes in
+`js/audio.js` without requiring code changes:
+
+| Preset ID | Hull Drone | Warp Core | Life Support | Telemetry | Special Events / Soundboard |
+| --- | --- | --- | --- | --- | --- |
+| `mil-sulaco` | 44 Hz, 105 Hz lp, 0.55 noise | 38 bpm, 58 Hz, `nx` | Brown noise, 140–1500 Hz | `nx` (volume 0.4, density 0.45) | Bulkhead Seal (`synthesizeDockingClamp`) |
+| `mil-galactica` | 48 Hz, 115 Hz lp, 0.50 noise | 46 bpm, 64 Hz, `nx` | Pink noise, 170–1700 Hz | `ds9` (volume 0.5, density 0.55) | DRADIS Scan (`synthesizeDradisPing`), FTL Jump, Flak |
+| `mil-white-star` | 66 Hz, 145 Hz lp, 0.35 noise | 58 bpm, 88 Hz, `voyager` | Pink noise, 210–2100 Hz | `voyager` (volume 0.5, density 0.65) | Turbo-Thruster Swell (`synthesizeFastReturn`) |
+| `mil-agamemnon` | 46 Hz, 110 Hz lp, 0.55 noise | 42 bpm, 60 Hz, `defiant` | Pink noise, 180–1800 Hz | `ds9` (volume 0.45, density 0.50) | Radar Target Lock (`synthesizeSensorSweep`) |
+| `mil-andromeda` | 56 Hz, 130 Hz lp, 0.45 noise | 54 bpm, 76 Hz, `tng` | Pink noise, 200–1900 Hz | `tng` (volume 0.5, density 0.60) | Weapons Armed (`synthesizeLCARSSingleChirp`) |
+| `mil-excalibur` | 50 Hz, 125 Hz lp, 0.50 noise | 50 bpm, 72 Hz, `defiant` | Pink noise, 190–1800 Hz | `ds9` (volume 0.45, density 0.55) | Bulkhead Seal, Action Stations |
+| `mil-viper` | 76 Hz, 175 Hz lp, 0.40 noise | 72 bpm, 94 Hz, `voyager` | White noise, 240–2600 Hz | `voyager` (volume 0.6, density 0.70) | DRADIS Ping, Thruster Swell |
+
+---
+
+## Missing elements / gap list (Military Space)
+
+These are authentic sound elements documented in film and television production
+that are currently simulated by existing approximations:
+
+| Priority | Element | Source ship | Description | Implementation path |
+| --- | --- | --- | --- | --- |
+| 1 | **Dedicated Point-Defense Flak Barrage Burst** | Battlestar Galactica | Rapid-firing sequence of sharp concussive explosions ("thud-thud-crack") echoing through outer armor, rather than a single FTL displacement boom. | High: Add `synthesizeFlakBurst()` creating clustered short noise transients with lowpass body decay. |
+| 2 | **Heavy Weapons Arming Breech Clank** | USS Sulaco / Agamemnon | Mechanical pneumatic solenoid latch and breech-locking clank when loading heavy ordnance, replacing single chirp. | High: Synthesize dual metallic pulse in `ExpandedSciFiAudioSynth`. |
+| 3 | **Centrifugal Habitat Carousel Motor Groan** | EAS Agamemnon | Very low frequency (12–24 Hz) cyclical rotational groan reflecting the continuous 1 rpm rotation of the crew carousel. | Medium: Modulate hull drone amplitude with an ultra-slow LFO (0.016 Hz). |
+| 4 | **Slipstream Drive Transition Surge** | Andromeda Ascendant | Ascending harmonic pitch sweep followed by a crystal-clear string resonance when entering the slipstream. | Medium: Sweep dual bandpass filters with resonance ramp. |
+| 5 | **Viper Pilot Oxygen Regulator Demand Valve** | Colonial Viper Mk II | Periodic rhythmic breath intake hiss and pneumatic demand-valve click synchronized with high-G maneuvering. | Medium: Add pulsed envelope trigger to highpass white-noise generator. |
+
+---
+
+## Military Space open questions
+
+- **[GAP]** The exact acoustic recording sources used by Don Sharpe for the
+ dropship bay hydraulic actuators and pneumatic lock clanks on the *Sulaco*
+ in *Aliens*.
+- **[GAP]** The specific synthesizer models and patch parameters used by Daniel
+ Colman to craft the Colonial Viper engine acceleration scream and FTL jump
+ displacement on *Battlestar Galactica*.
+- **[GAP]** The exact mixing chain used by Andrew DeCristofaro at Soundelux for
+ the Minbari/Vorlon organic hull shimmer on *Babylon 5*.
+
+### Where to verify (Military Space)
+
+- **Primetime Emmy Archives / Television Academy**: Production citations and
+ sound department interviews for Daniel Colman’s sound editing on *Battlestar
+ Galactica*.
+- **Academy of Motion Picture Arts and Sciences (AMPAS)**: 59th Academy Awards
+ documentation honoring Don Sharpe for *Aliens*.
+- **Cinefex Magazine (Issue 27)**: Comprehensive technical coverage of James
+ Cameron’s *Aliens* miniature photography, physical effects, and post-production
+ sound.
+- **Soundelux Production Archives**: Historical records of audio engineering for
+ *Babylon 5* and *Crusade* under Andrew DeCristofaro and Michael Payne.
+- **Tribune Entertainment / Fireworks Media**: Production sound records for
+ *Gene Roddenberry's Andromeda*.
+
+---
+
+# Industrial Space
+
+The "Industrial Space" theme captures eight heavy refinery vessels, commercial
+transporters, mining behemoths, and utilitarian freight shuttles:
+- *Alien*, 1979 (USCSS Nostromo) — Ridley Scott’s commercial ore-refinery hauler
+- *Firefly*, 2002 (Serenity) — Joss Whedon’s Firefly-class cargo transporter
+- *Red Dwarf*, 1988– (Red Dwarf) — BBC / Grant & Naylor’s Jupiter Mining Corporation vessel
+- *Red Dwarf*, 1988– (Starbug 1) — BBC’s Class 2 ship's utility runabout
+- *Dark Matter*, 2015–2017 (The Raza) — Modified industrial strike freighter
+- *The Expanse*, 2015–2022 (Rocinante) — Corvette-class frigate / Epstein drive torch ship
+- *Space: 1999*, 1975–1977 (Eagle Transporter) — Gerry Anderson’s modular lunar transporter
+- *Silent Running*, 1972 (Valley Forge) — Douglas Trumbull’s deep-space agro-dome freighter
+
+Acoustically, the Industrial Space universe is defined by **immense mass, raw
+thermal kinetic forces, pressurized venting, loose rattling hardware, and
+uncompromising utilitarianism**. Unlike the pristine acoustic dampening of
+Starfleet or the hyper-advanced crystal harmonies of Minbari cruisers, industrial
+vessels are workplaces built by cost-cutting corporations. Their soundscapes are
+dominated by deep, subterranean engine conduction through structural steel,
+high-pressure steam and coolant releases, stuttering relays, Geiger radiation
+clicks, and the clanking reverberations of heavy cargo bays.
+
+## Layer mapping (Industrial-specific)
+
+| Real concept | App layer | Notes |
+| --- | --- | --- |
+| Hull conduction, reactor thrum, ore refinery vibration | `hull` (`HullDroneSynth`) | Heavy, low-tuned sub-bass beds (36–76 Hz) reflecting structural steel and high-mass commercial hulls. |
+| Sub-light pulse drives, Epstein torch whine, thrusters | `warp` (`WarpCoreSynth`) | Mechanical propulsion pulses (30–64 bpm) spanning sluggish mining ramscoops to screaming magnetic torch drives. |
+| High-capacity HVAC, air scrubbers, greenhouse airflow | `lifeSupport` (`LifeSupportSynth`) | Thick brown, pink, and white noise air beds running between 100 Hz and 2600 Hz. |
+| Mainframe teletypes, Geiger counters, solenoid clicks | `telemetry` (`TelemetrySynth`) | Telemetry routing borrowed from Trek eras (`nx`, `tos`, `ds9`, `voyager`) simulating dot-matrix terminals and relays. |
+| Epstein fusion burns, airlock purges, reactor vents | Events / Soundboard | Bespoke torch roar, Geiger counter click bursts, and heavy pneumatic seals. |
+
+---
+
+## Ship-by-ship
+
+### USCSS Nostromo: Ore Refinery Bridge (Alien, 1979)
+
+**Production context [DOC]:** Directed by Ridley Scott, *Alien* established the
+foundational aesthetic of "used sci-fi" and heavy industrial realism. Sound design
+was created by **Ben Burtt** (sound consultant), sound editors **Jim Shields** and
+**Derrick Leather**, and supervising sound/film editor **Terry Rawlings** (who
+received BAFTA and Oscar nominations for sound editing).
+
+**[DOC]** The *USCSS Nostromo* (registered CM-88B Bison starfreighter, owned by
+the Weyland-Yutani Corporation) is a commercial automated towing vessel pulling a
+colossal 20-million-ton automated mineral ore refinery from Thedus to Earth. Its
+interiors are dark, cavernous, and damp, resembling a subterranean factory or
+oil tanker rather than a spacecraft.
+
+**[OBS]** The bridge and refinery soundscape is iconic in its damp, menacing
+confinement:
+- Cavernous sub-bass machinery: Rolls-Royce N66 Cyclone propulsion units transmit
+ a deep 42 Hz sub-bass hull thrum with high noise mix (0.60) through steel decks.
+- Condensation and coolant leaks: Chilled air handlers and uninsulated coolant
+ pipes drip water onto metal gangways with echoing acoustic transients.
+- MU/TH/UR 6000 interface chatter: The ship’s mainframe chamber is filled with
+ the rapid, mechanical clatter of electronic relays, teletype keystrokes, and
+ cooling blowers (`whoniverseAudio.synthesizeDematSwitch`).
+- Brown-noise air scrubbers: The life-support system produces a continuous,
+ muffled brown-noise bed (130–1400 Hz) that conveys claustrophobic isolation.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Ore Refinery Bridge & Concourse | Damp, reverberant industrial cavern; heavy 42 Hz mechanical hull thrum; distant echoes through ventilation shafts. | **[DOC]** |
+| Sub-light Towing Engines | Slow, sluggish 36 bpm engine pulse (`pulseShape: 'nx'`); low 52 Hz carrier tone vibrating commercial bulkheads. | **[OBS]** |
+| Cryo & Life Support Scrubbers | Thick, low-pass brown-noise ventilation (130–1400 Hz); regulated airflow struggling against condensation. | **[OBS]** |
+
+*Covered by:* preset `ind-nostromo` (`hull`: volume 0.8, `baseFreq: 42`,
+`filterCutoff: 95`, `resonance: 2.6`, `noiseMix: 0.6`, `harmonicSpread: 1.015`;
+`warp`: volume 0.5, `bpm: 36`, `carrierFreq: 52`, `filterCutoff: 130`,
+`pulseShape: 'nx'`, `resonance: 2.8`, `swirlMix: 0.2`; `lifeSupport`: volume
+0.65, `noiseType: 'brown'`, `highpassFreq: 130`, `lowpassFreq: 1400`,
+`airflowModSpeed: 0.1`, `airflowModDepth: 0.16`; `telemetry.volume: 0.45`,
+`density: 0.45`, `telemetry.era: 'nx'`). Brown noise in life support combined
+with slow NX engine pulses perfectly captures the cold, wet, industrial isolation
+of the Nostromo.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| MU/TH/UR Teletype Terminal Clatter | Staccato mechanical relay chatter and dot-matrix keystrokes from the mainframe interface. | `WhoniverseAudioSynth.synthesizeDematSwitch` (Soundboard: "M/TH/UR Teletype") | **[DOC]** |
+| Radiation Geiger Burst | Rapid, erratic high-frequency square clicks (2800–3600 Hz) measuring ore radiation leakage. | `ExpandedSciFiAudioSynth.synthesizeGeigerBurst` (Soundboard: "Geiger Counter") | **[DOC]** |
+| Refinery Hydraulic Clamp Latch | Colossal mechanical solenoid clamp engaging the refinery towing umbilical. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Hydraulic Clamps") | **[DOC]** |
+| Coolant Pressure Blow-Off | Pressurized pneumatic valve release followed by lingering white-noise steam hiss. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Pneumatic Seal Purge") | **[OBS]** |
+
+**Assessment:** `ind-nostromo` is the defining blueprint of industrial sci-fi.
+Its deep 42 Hz hull thrum and brown noise ventilation establish a tactile,
+foreboding corporate work environment.
+
+---
+
+### Serenity: Firefly-Class Cargo Hold (Firefly, 2002)
+
+**Production context [DOC]:** Created by Joss Whedon, *Firefly*’s sound design
+was led by Supervising Sound Editor **Ken Kimmelman**, sound designer
+**Tim Kimmel**, and sound effects editor **Todd Niesen**. Whedon established the
+strict rule that there is no sound in the vacuum of space; all acoustic energy on
+*Serenity* is strictly internal, conducted through metal, air ducts, and vibrating
+structural frames.
+
+**[DOC]** *Serenity* is an obsolete 03-K64 Firefly-class commercial transport.
+It possesses no heavy weapons, no energy shields, and minimal corporate luxuries.
+Its primary propulsion relies on a standard fusion reactor feeding a magnetic
+compression coil with pivoting VTOL engine nacelles.
+
+**[OBS]** The cargo hold is the ship’s acoustic centerpiece:
+- Lived-in structural creaks: Loose steel floorboards, rattling catwalk railings,
+ and uninsulated structural ribs groan and shiver during atmospheric re-entry.
+- Rhythmic compression coil thrum: The main drive produces a warm, syncopated
+ mechanical heartbeat (44 bpm, `pulseShape: 'nx'`, 64 Hz carrier) that resonates
+ directly through the dining area and bunk rooms.
+- Utilitarian air circulation: Balanced pink-noise life support (160–1600 Hz)
+ delivers warmed air through rectangular sheet-metal ductwork.
+- Sparse analog telemetry: Pre-Alliance military surplus switches, rotary knobs,
+ and TOS-style indicators provide dry, tactile feedback without musical flourishes.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Firefly Multi-Tier Cargo Hold | Reverberant, cavernous steel chamber; loose vibrating floor plates; warm structural creaking under flight trim. | **[DOC]** |
+| Fusion Compression Coil Drive | Steady 44 bpm mechanical engine pulse (`pulseShape: 'nx'`); warm 64 Hz carrier frequency humming in deck grating. | **[DOC]** |
+| Environmental Living Ducts | Gentle pink-noise ventilation (160–1600 Hz); mild airflow fluctuation providing habitable warmth. | **[OBS]** |
+
+*Covered by:* preset `ind-serenity` (`hull`: volume 0.7, `baseFreq: 48`,
+`filterCutoff: 110`, `resonance: 2.2`, `noiseMix: 0.5`, `harmonicSpread: 1.025`;
+`warp`: volume 0.75, `bpm: 44`, `carrierFreq: 64`, `filterCutoff: 180`,
+`pulseShape: 'nx'`, `resonance: 3.5`, `swirlMix: 0.3`; `lifeSupport`: volume
+0.55, `noiseType: 'pink'`, `highpassFreq: 160`, `lowpassFreq: 1600`,
+`airflowModSpeed: 0.14`, `airflowModDepth: 0.12`; `telemetry.volume: 0.35`,
+`density: 0.35`, `telemetry.era: 'tos'`). The combination of 48 Hz hull resonance
+and slow NX pulse captures the honest, fragile warmth of an unshielded tramp
+freighter.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Cargo Ramp Hydraulic Release | Heavy whining hydraulic motor unlatching the ventral vehicle loading ramp. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Hydraulic Clamps") | **[DOC]** |
+| Engine Cowling Compression Ping | High-register metallic "tink" as hot engine nacelle cowlings contract after landing. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Heavy Solenoid") | **[OBS]** |
+| Emergency Reactor Vent | High-speed release of superheated coolant gas from the primary compression manifold. | `WhoniverseAudioSynth.synthesizeFastReturn` (Event: "Reactor Vent") | **[OBS]** |
+| Mule Cargo Vehicle Ignition | Dry starter motor grind echoing off the steel walls of the cargo bay. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+
+**Assessment:** `ind-serenity` feels homey, mechanical, and vulnerable. The warm
+48 Hz hull tone and restrained TOS telemetry reflect a ship kept flying purely by
+grease, grit, and Kaylee’s mechanical intuition.
+
+---
+
+### Red Dwarf: Main Drive Corridor (Red Dwarf, 1988–)
+
+**Production context [DOC]:** Created by Rob Grant and Doug Naylor, *Red Dwarf*’s
+distinctive BBC audio design was managed by sound supervisors **Jem Whippey**,
+**Keith Mayes**, and **Ian Pinder**. The sound design drew heavily from real-world
+industrial coal plants, chemical refineries, and London underground transit
+tunnels, combined with synthesizer effects created at the BBC Radiophonic Workshop.
+
+**[DOC]** The *Red Dwarf* is an immense Jupiter Mining Corporation (JMC) vessel,
+measuring six miles long, four miles tall, and five miles wide. Following a fatal
+cadmium-II radiation leak that wiped out the entire crew except for technician
+Dave Lister (sealed in stasis), the ship drifted through deep space for three
+million years with only the senile computer Holly maintaining operations.
+
+**[OBS]** The corridors and drive rooms are characterized by **cavernous desolation**:
+- Subterranean mining hull rumble: An immense, deep 36 Hz sub-bass rumble (filter
+ cutoff 80 Hz) with an exceptionally high noise mix (0.65) reflects a gargantuan,
+ nearly empty steel leviathan.
+- Giant ramscoop vacuum suction: Sluggish 30 bpm engine cadence (`pulseShape: 'nx'`,
+ 46 Hz carrier) driving giant hydrogen ramscoops through interstellar dust.
+- Unmaintained corporate utilities: Sputtering fluorescent tubes, groaning water
+ pipes, and unmaintained JMC vending machines providing dry, comical mechanical
+ transients.
+- Very sparse, dead telemetry: With the crew dead, telemetry density is dropped
+ to an eerie 0.20, leaving long stretches of hollow silence.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| 6-Mile Desolate JMC Corridor | Cavernous, hollow mining hull echo (36 Hz base); muffled lowpass rumble (80 Hz cutoff); distant clanking pipes miles away. | **[DOC]** |
+| Hydrogen Ramscoop Drive | Extremely slow 30 bpm engine thrum (`pulseShape: 'nx'`); low 46 Hz carrier frequency vibrating miles of bulkheads. | **[OBS]** |
+| Stagnant JMC Air Handling | Muffled brown-noise airflow (110–1200 Hz); sluggish air circulation in cavernous, abandoned compartments. | **[OBS]** |
+
+*Covered by:* preset `ind-red-dwarf` (`hull`: volume 0.85, `baseFreq: 36`,
+`filterCutoff: 80`, `resonance: 2.0`, `noiseMix: 0.65`, `harmonicSpread: 1.01`;
+`warp`: volume 0.4, `bpm: 30`, `carrierFreq: 46`, `filterCutoff: 110`,
+`pulseShape: 'nx'`, `resonance: 2.2`, `swirlMix: 0.15`; `lifeSupport`: volume
+0.6, `noiseType: 'brown'`, `highpassFreq: 110`, `lowpassFreq: 1200`,
+`airflowModSpeed: 0.08`, `airflowModDepth: 0.18`; `telemetry.volume: 0.25`,
+`density: 0.2`, `telemetry.era: 'nx'`). The lowest base frequency in the app
+(36 Hz) combined with sparse 30 bpm pulses creates the unmatched sensation of
+a hollow, deserted mining behemoth.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Cadmium Radiation Detector | Erratic, clicking Geiger burst measuring lingering background isotopes in the hold. | `ExpandedSciFiAudioSynth.synthesizeGeigerBurst` (Soundboard: "Geiger Counter") | **[DOC]** |
+| JMC Bulkhead Hydraulic Slam | Heavy pneumatic clamp slamming shut during red-alert emergency quarantine. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Hydraulic Clamps") | **[DOC]** |
+| Vending Machine Dispense Clunk | Mechanical solenoid drop and liquid hiss dispensing piping-hot synthetic pea soup. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Pneumatic Seal Purge") | **[OBS]** |
+| Holly Mainframe Monitor Tone | Flat, primitive 8-bit indicator beep acknowledging Holly's navigational query. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Heavy Solenoid") | **[OBS]** |
+
+**Assessment:** `ind-red-dwarf` is brilliantly evocative. Its cavernous 36 Hz hull
+drone and dead, sparse telemetry perfectly convey the loneliness of drifting three
+million years into deep space.
+
+---
+
+### Starbug 1: Cockpit Environment (Red Dwarf, 1988–)
+
+**Production context [DOC]:** Created by Rob Grant and Doug Naylor, with sound
+engineering supervised by **Jem Whippey** and **Keith Mayes**. Starbug was
+designed as a comedic yet functional utility craft: perpetually rattling,
+prone to catastrophic structural damage, yet virtually indestructible.
+
+**[DOC]** *Starbug 1* is a Jupiter Mining Corporation Class 2 ship's utility
+transport. Spherical, green, and resembling an insect, it features two cramped
+decks containing flight controls, navigation bunks, and a galley. It is powered
+by twin chemical/nuclear thrusters and handles routine cargo runs, salvage
+expeditions, and frequent crash landings.
+
+**[OBS]** The cockpit acoustic profile is **claustrophobic, rattly, and buzzy**:
+- High-frequency airframe vibration: Unlike its mother ship, Starbug has a high
+ 76 Hz hull base (cutoff 170 Hz), capturing the immediate physical vibration of
+ a small metal capsule under full thrust.
+- Fast, buzzing thruster harmonics: Propulsion is high-revving and impatient
+ (64 bpm, `pulseShape: 'tos'`, 90 Hz carrier) with an audible mechanical buzz.
+- Direct cockpit air scrubbers: Pink-noise ventilation (220–2200 Hz) blows
+ directly onto the flight consoles, fighting cabin heat and electrical ozone.
+- Shaking instrument switchgear: Heavy toggles, CRT display glass, and steering
+ yokes rattle whenever the ship executes high-G planetary descents.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Cramped Class 2 Shuttle Cabin | Tight, buzzing metal airframe hum (76 Hz base); high filter cutoff (170 Hz); rattling cockpit consoles under full throttle. | **[DOC]** |
+| High-Rev Bug Sub-Light Thrusters | Fast, aggressive 64 bpm engine pulse (`pulseShape: 'tos'`); high 90 Hz carrier tone humming in seat mounts. | **[DOC]** |
+| Cockpit Life Support Blowers | High-register pink-noise airflow (220–2200 Hz); rapid airflow cycling (0.2 speed) cooling hot avionics. | **[OBS]** |
+
+*Covered by:* preset `ind-starbug` (`hull`: volume 0.65, `baseFreq: 76`,
+`filterCutoff: 170`, `resonance: 3.2`, `noiseMix: 0.45`, `harmonicSpread: 1.04`;
+`warp`: volume 0.6, `bpm: 64`, `carrierFreq: 90`, `filterCutoff: 220`,
+`pulseShape: 'tos'`, `resonance: 3.6`, `swirlMix: 0.25`; `lifeSupport`: volume
+0.5, `noiseType: 'pink'`, `highpassFreq: 220`, `lowpassFreq: 2200`,
+`airflowModSpeed: 0.2`, `airflowModDepth: 0.14`; `telemetry.volume: 0.5`,
+`density: 0.55`, `telemetry.era: 'tos'`). High base frequency (76 Hz) and TOS
+relays provide the exact comedic, high-strung personality of Lister and Rimmer’s
+shuttlecraft.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Crash Landing Hydraulic Shudder | Severe mechanical impact and pneumatic strut compression absorbing ground shock. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Hydraulic Clamps") | **[DOC]** |
+| Thruster Boost Burn | Sudden high-frequency thrust escalation as the pilot punches the emergency burn lever. | `WhoniverseAudioSynth.synthesizeFastReturn` (Event: "Reactor Vent") | **[OBS]** |
+| JMC Navigation Scope Ping | Dry, retro radar chirp sweeping asteroids in the descent corridor. | `telemetry.synthesizeSensorSweep` | **[OBS]** |
+| Manual Air Valve Twist | Squeaking brass valve release venting radiator pressure into the cockpit. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+
+**Assessment:** `ind-starbug` provides a brilliant contrast to the mother ship.
+Its high-frequency 76 Hz hull and 64 bpm TOS pulses capture the rattling,
+seat-of-the-pants flying experience of the JMC's favorite runabout.
+
+---
+
+### The Raza: Dark Matter Bridge (Dark Matter, 2015–2017)
+
+**Production context [DOC]:** Created by Joseph Mallozzi and Paul Mullie
+(alumni of the *Stargate* franchise), *Dark Matter*’s post-production sound was
+supervised by **John Douglas Smith**, sound effects editors **Kevin Banks** and
+**Paul Germann**, and re-recording mixer **Joe Morrow**.
+
+**[DOC]** *The Raza* is a heavily modified commercial multi-purpose freighter
+operated by a crew of mercenary amnesiacs (Numbers One through Six) and the
+synthetic Android. While originally a freight transporter, it has been refitted
+with advanced military-grade weapons, reinforced armor, and an integrated neural
+link to the ship’s computer.
+
+**[OBS]** The bridge audio environment is **disciplined, shadowy, and tactical**:
+- Controlled commercial-military hull drone: A disciplined 54 Hz hull thrum
+ (filter cutoff 120 Hz) conducted through matte-black armor plate.
+- Military-grade FTL engine hum: Smooth, deliberate 50 bpm propulsion pulses
+ (`pulseShape: 'defiant'`, 70 Hz carrier) reflecting reliable, high-thrust
+ hyper-drives.
+- Clean environmental circulation: Regulated pink-noise airflow (180–1800 Hz)
+ cycling silently through tactical stations.
+- Android-coordinated telemetry: DS9-style militaristic chirps and computer
+ confirmations as the Android monitors ship systems and tactical envelopes.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Matte-Black Command Bridge | Controlled, low-resonance composite hull hum (54 Hz base); dark, tense acoustic isolation; zero rattles. | **[OBS]** |
+| Military-Grade FTL Drive | Firm 50 bpm engine pulse (`pulseShape: 'defiant'`); 70 Hz carrier tone with 0.3 swirl mix. | **[OBS]** |
+| Regulated Life Support Loops | Smooth pink-noise ventilation (180–1800 Hz); steady, disciplined environmental air circulation. | **[OBS]** |
+
+*Covered by:* preset `ind-raza` (`hull`: volume 0.7, `baseFreq: 54`,
+`filterCutoff: 120`, `resonance: 2.8`, `noiseMix: 0.48`, `harmonicSpread: 1.02`;
+`warp`: volume 0.65, `bpm: 50`, `carrierFreq: 70`, `filterCutoff: 190`,
+`pulseShape: 'defiant'`, `resonance: 3.4`, `swirlMix: 0.3`; `lifeSupport`: volume
+0.55, `noiseType: 'pink'`, `highpassFreq: 180`, `lowpassFreq: 1800`,
+`airflowModSpeed: 0.12`, `airflowModDepth: 0.1`; `telemetry.volume: 0.4`,
+`density: 0.45`, `telemetry.era: 'ds9'`). The Defiant pulse shape and DS9
+telemetry cleanly capture the focused, mercenary lethality of the crew.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| FTL Jump Disengagement | Sub-bass gravitational release as the ship drops out of faster-than-light transit. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Hydraulic Clamps") | **[OBS]** |
+| Android Neural Interface Ping | High-efficiency synthetic chirp confirming computer navigation handshake. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Heavy Solenoid") | **[OBS]** |
+| Heavy Railgun Turret Slew | Low-frequency servo hum rotating external kinetic railgun batteries into firing arcs. | `WhoniverseAudioSynth.synthesizeFastReturn` (Event: "Reactor Vent") | **[OBS]** |
+| Armored Blast Shutter Lock | High-pressure pneumatic seal dogging bridge viewport armor. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Pneumatic Seal Purge") | **[OBS]** |
+
+**Assessment:** `ind-raza` strikes a clean balance between heavy freight architecture
+and mercenary combat efficiency. Its 54 Hz base frequency and Defiant warp cadence
+give it an alert, modern presence.
+
+---
+
+### Rocinante: Combat Ops & Epstein Drive (The Expanse, 2015–2022)
+
+**Production context [DOC]:** Developed by Mark Fergus and Hawk Ostby from the
+novels of James S.A. Corey, *The Expanse*’s sound design was crafted by
+Supervising Sound Editor **Nelson Ferreira** (MPSE Golden Reel Award winner),
+supervising sound editor **Kevin Howard**, and sound designer **Nathan Robitaille**.
+Their work is celebrated for rigorous adherence to Newtonian physics: deafening
+internal acoustic conduction during high-G burns, sudden vacuum silence outside,
+and high-pressure respiratory gasps from crew strapped into crash couches.
+
+**[DOC]** The *Rocinante* (formerly the Martian Congressional Republic Navy
+corvette-class gunship *Tachi*, designated ECF-270) is a 46-meter torpedo frigate.
+It is built on a "tower" deck plan: decks are stacked like floors in an office
+building, so that acceleration from its fusion Epstein Drive provides linear
+thrust gravity ("down" is toward the drive cone).
+
+**[OBS]** Combat operations on the *Rocinante* are **visceral, intense, and kinetic**:
+- Deafening Epstein drive magnetic confinement: The fusion torch does not emit
+ a polite hum; it is a violent, magnetic roar (64 Hz base, 84 Hz carrier, 58 bpm
+ `defiant` pulse) with maximum warp volume (0.90) vibrating structural bulkheads.
+- High-pressure oxygen delivery: White-noise life support (200–2100 Hz, volume 0.60)
+ pumps high-pressure oxygen to crew in crash couches to stave off blackouts during
+ high-G evasive maneuvers.
+- High-density tactical telemetry: Modern, rapid Voyager-style indicator chirps
+ tracking Point Defense Cannon (PDC) auto-targeting arcs and torpedo locks.
+- The Epstein burn event: A bespoke fusion torch burn (`synthesizeEpsteinBurn`)
+ blends a 140–3200 Hz ascending magnetic induction whine with a colossal brown-noise
+ roar.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| MCRN Combat Ops Tower Hull | High-tension armored frame vibration (64 Hz base); intense structural resonance (3.4); palpable mechanical torque under burn. | **[DOC]** |
+| Epstein Magnetic Fusion Drive | Deafening 58 bpm combat pulse (`pulseShape: 'defiant'`); high 84 Hz carrier frequency; maximum volume 0.90. | **[DOC]** |
+| High-G Crash Couch Oxygen Feed | Pressurized white-noise airflow (200–2100 Hz); rapid airflow modulation (0.18 speed) fighting G-load hypoxia. | **[DOC]** |
+
+*Covered by:* preset `ind-rocinante` (`hull`: volume 0.8, `baseFreq: 64`,
+`filterCutoff: 145`, `resonance: 3.4`, `noiseMix: 0.55`, `harmonicSpread: 1.035`;
+`warp`: volume 0.9, `bpm: 58`, `carrierFreq: 84`, `filterCutoff: 250`,
+`pulseShape: 'defiant'`, `resonance: 4.2`, `swirlMix: 0.4`; `lifeSupport`: volume
+0.6, `noiseType: 'white'`, `highpassFreq: 200`, `lowpassFreq: 2100`,
+`airflowModSpeed: 0.18`, `airflowModDepth: 0.14`; `telemetry.volume: 0.5`,
+`density: 0.65`, `telemetry.era: 'voyager'`). High warp volume (0.90), white
+noise life support, and `synthesizeEpsteinBurn()` provide the most physically
+intense propulsion soundscape in the application.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Epstein Fusion Torch Burn | Massive ascending magnetic plasma whine (140 to 3200 Hz) layered over colossal lowpass brown-noise fusion roar. | `ExpandedSciFiAudioSynth.synthesizeEpsteinBurn` (Event: "Epstein Burn") | **[DOC]** |
+| PDC Auto-Target Tracking Lock | Rapid, high-velocity multi-tone telemetry chirp calculating lead solutions for incoming torpedoes. | `telemetry.synthesizeSensorSweep` | **[DOC]** |
+| Crash Couch G-Gimbal Motor | Heavy hydraulic servo whine rotating the pilot's couch into alignment with the acceleration vector. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+| Torpedo Magazine Feed Solenoid | Heavy electromagnetic snap as a high-yield torpedo is shoved into the ventral launch tube. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Heavy Solenoid") | **[DOC]** |
+
+**Assessment:** `ind-rocinante` is an acoustic tour de force. By combining
+maximum warp volume, white-noise respiratory airflow, and the bespoke Epstein
+burn synthesis, it faithfully captures the visceral kinetic warfare of *The Expanse*.
+
+---
+
+### Eagle Transporter: Command Module (Space: 1999, 1975–1977)
+
+**Production context [DOC]:** Created by Gerry and Sylvia Anderson, *Space: 1999*’s
+distinctive audio aesthetic was supervised by sound editor **Jim Groom**, sound
+editor **Alan Bell**, and special electronic sound effects designer **Brian Johnson**
+(who later won Oscars for visual effects on *Alien* and *The Empire Strikes Back*).
+Audio effects were produced at Pinewood Studios using vintage analog oscillators,
+tape loops, and electromagnetic relays.
+
+**[DOC]** The *Eagle Transporter* is the primary multi-role utility spacecraft
+stationed on Moonbase Alpha. Designed strictly for practical lunar operations,
+it features an open-framework tubular steel fuselage, four heavy landing pods,
+twin forward pilot cockpits, and interchangeable mission pods (passenger,
+freight, rescue, and laser combat).
+
+**[OBS]** The command module acoustic profile is **tactile, analog, and mechanical**:
+- High-frequency cockpit frame vibration: The open framework transmits a crisp,
+ tight 70 Hz structural vibration (cutoff 160 Hz) directly into the flight deck.
+- Nuclear fusion reaction thrusters: Rhythmic 54 bpm thruster pulses (`pulseShape: 'tos'`,
+ 88 Hz carrier) providing steady lunar transit thrust.
+- Regulated cabin air handling: Smooth pink-noise life support (210–2000 Hz)
+ maintaining cabin pressure against lunar vacuum.
+- 1970s relay click and switchboard telemetry: Heavy mechanical solenoids, rotary
+ selector clicks, and TOS-style indicator beeps monitoring propellant pressure
+ and Moonbase docking latches.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Modular Cockpit Command Module | Tight, utilitarian structural hum (70 Hz base); open-truss frame conduction; tactile analog instrument acoustics. | **[DOC]** |
+| Nuclear Chemical Thruster Core | Rhythmic 54 bpm propulsion hum (`pulseShape: 'tos'`); 88 Hz carrier frequency driving four main rocket bells. | **[DOC]** |
+| Command Module Air Recirculation | Regulated pink-noise airflow (210–2000 Hz); crisp environmental ventilation in a sealed two-person cabin. | **[OBS]** |
+
+*Covered by:* preset `ind-eagle` (`hull`: volume 0.6, `baseFreq: 70`,
+`filterCutoff: 160`, `resonance: 3.0`, `noiseMix: 0.4`, `harmonicSpread: 1.03`;
+`warp`: volume 0.55, `bpm: 54`, `carrierFreq: 88`, `filterCutoff: 210`,
+`pulseShape: 'tos'`, `resonance: 3.2`, `swirlMix: 0.2`; `lifeSupport`: volume
+0.55, `noiseType: 'pink'`, `highpassFreq: 210`, `lowpassFreq: 2000`,
+`airflowModSpeed: 0.15`, `airflowModDepth: 0.1`; `telemetry.volume: 0.55`,
+`density: 0.6`, `telemetry.era: 'tos'`). TOS telemetry and 70 Hz base frequencies
+beautifully recreate Gerry Anderson’s retro-futuristic lunar workhorse.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Landing Leg Shock Pad Impact | Heavy spring-loaded hydraulic clamp impact as all four landing pads touch lunar regolith. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Hydraulic Clamps") | **[DOC]** |
+| Moonbase Launch Pad Airlock Purge | Pressurized pneumatic hiss equalizing Moonbase Alpha launch silos before liftoff. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Pneumatic Seal Purge") | **[OBS]** |
+| Main Thruster Vernier Gimbal | High-register electronic actuator whirr swiveling the four nuclear exhaust nozzles. | `WhoniverseAudioSynth.synthesizeFastReturn` (Event: "Reactor Vent") | **[OBS]** |
+| Command Module Solenoid Relays | Distinctive spring-loaded electrical relay clicks confirming thruster arming. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Heavy Solenoid") | **[DOC]** |
+
+**Assessment:** `ind-eagle` is an evocative love letter to 1970s analog spaceflight.
+The crisp 70 Hz frame hum and TOS switchboard telemetry capture the practical,
+utilitarian romance of Moonbase Alpha.
+
+---
+
+### Valley Forge: Agro-Dome Forest Hub (Silent Running, 1972)
+
+**Production context [DOC]:** Directed by visual effects master **Douglas Trumbull**
+(who pioneered effects on *2001: A Space Odyssey* and *Close Encounters of the
+Third Kind*), *Silent Running* featured sound design and sound effects by legendary
+sound designer **Frank Warner** (who later won a Special Achievement Academy
+Award for Sound Effects Editing). Warner’s team recorded real industrial freight
+trains, hydraulic lifts, and botanical greenhouse fans to create an authentic
+cargo ship soundscape.
+
+**[DOC]** The *Valley Forge* (operated by American Freighters) is an eight-mile-long
+deep-space cargo ship carrying six geodesic biodomes preserving Earth's last
+surviving forests, plants, and small animals near Saturn. The ship is crewed by
+ecologist Freeman Lowell (Bruce Dern) and three automated service drones
+(Huey, Dewey, and Louie).
+
+**[OBS]** The forest dome and cargo hub soundscape is **pastoral yet industrial**:
+- Geodesic frame conduction: Deep 46 Hz structural hum (filter cutoff 100 Hz)
+ vibrating through miles of steel scaffolding and cargo container tracks.
+- Slow sub-light freight engines: Sluggish 38 bpm engine thrum (`pulseShape: 'nx'`,
+ 56 Hz carrier) conveying a slow, multi-year commercial transit.
+- Expansive greenhouse air handling: High-volume pink-noise ventilation
+ (140–1500 Hz, volume 0.70) simulating gentle artificial wind circulating moisture
+ through the towering pine trees and ferns.
+- Drone service hydraulics: The maintenance drones wander the steel catwalks,
+ producing high-pitched electronic chirps, servo whirrs, and hydraulic footfalls.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Geodesic Forest Dome & Catwalks | Reverberant greenhouse acoustics; gentle wind rustling artificial forest canopy; underlying 46 Hz structural drone. | **[DOC]** |
+| Interstellar Freight Engines | Gentle 38 bpm propulsion pulse (`pulseShape: 'nx'`); 56 Hz carrier frequency driving heavy cargo pods. | **[OBS]** |
+| Agro-Dome Humidity Ventilation | Expansive pink-noise air handling (140–1500 Hz, volume 0.70); rich airflow modulation (0.15 depth) simulating natural breezes. | **[DOC]** |
+
+*Covered by:* preset `ind-valley-forge` (`hull`: volume 0.65, `baseFreq: 46`,
+`filterCutoff: 100`, `resonance: 2.2`, `noiseMix: 0.5`, `harmonicSpread: 1.02`;
+`warp`: volume 0.4, `bpm: 38`, `carrierFreq: 56`, `filterCutoff: 130`,
+`pulseShape: 'nx'`, `resonance: 2.5`, `swirlMix: 0.2`; `lifeSupport`: volume
+0.7, `noiseType: 'pink'`, `highpassFreq: 140`, `lowpassFreq: 1500`,
+`airflowModSpeed: 0.1`, `airflowModDepth: 0.15`; `telemetry.volume: 0.35`,
+`density: 0.3`, `telemetry.era: 'nx'`). High life support volume (0.70) combined
+with gentle 46 Hz structural hum brilliantly evokes the tranquil, isolated
+greenhouses of the Valley Forge.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Dome Jettison Explosive Bolts | Heavy mechanical latch release as an agro-dome is decoupled into space. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` (Soundboard: "Hydraulic Clamps") | **[DOC]** |
+| Drone Servo Whirr & Chirp | High-pitched motor whirr and melodic electronic chirp from drone Huey or Dewey. | `telemetry.synthesizeSensorSweep` | **[DOC]** |
+| Cargo Gantry Transit Clatter | Overhead motorized hoist rolling along steel ceiling rails. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+| Geodesic Thermal Expansion Click | Metal strut ticking as sunlight shifts across the acrylic dome panels. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Heavy Solenoid") | **[OBS]** |
+
+**Assessment:** `ind-valley-forge` is one of the most uniquely peaceful presets
+in the entire application. The prominent pink-noise air handling (volume 0.70)
+creates a soothing greenhouse atmosphere anchored by solid freight engine thrum.
+
+---
+
+## Design constraint: Heavy industry vs. torch propulsion
+
+The Industrial Space universe presents a crucial technical divergence in sci-fi
+sound design: the contrast between **massive, sluggish low-acceleration ore
+transporters** and **violent, high-G torch combat craft**:
+
+```
++-------------------------------------------------------------------------+
+| INDUSTRIAL ACOUSTIC DIVERGENCE |
++-------------------------------------------------------------------------+
+| |
+| HEAVY ORE TRANSPORTERS (Nostromo, Red Dwarf, Valley Forge) |
+| - Immense structural mass (millions of tons of refined ore / freight) |
+| - Subterranean base frequencies (36 - 42 Hz) |
+| - Heavily muffled lowpass filtering (cutoff: 80 - 100 Hz) |
+| - Sluggish, deliberate propulsion cadence (30 - 38 bpm, 'nx' pulse) |
+| - Chilled, damp brown-noise air handling with dripping pipes |
+| |
+| TORCH SHIPS & INTERCEPTORS (Rocinante, Eagle, Starbug) |
+| - High thrust-to-weight ratio; acceleration provides linear gravity |
+| - High structural tension and engine whine (64 - 76 Hz base) |
+| - Wide, energetic filter cutoff (145 - 170 Hz) |
+| - Rapid, aggressive propulsion cadence (54 - 64 bpm, 'defiant'/'tos') |
+| - Pressurized white/pink noise life support fighting high-G hypoxia |
+| |
++-------------------------------------------------------------------------+
+```
+
+1. **Subterranean Bulk & Low-Pass Filtering:** In commercial leviathans like the
+ *Nostromo*, *Red Dwarf*, and *Valley Forge*, acoustic energy travels through
+ miles of structural steel, cargo catwalks, and heavy bulkheads. High frequencies
+ are naturally absorbed, leaving a dominant sub-bass rumble (36–42 Hz) with low
+ filter cutoffs (80–100 Hz). Life support is thick, damp brown noise that feels
+ cold and uninsulated.
+2. **Torches & High-Tension Acceleration:** In contrast, high-acceleration vessels
+ like the *Rocinante* operate under continuous high-G burn. Hull frequencies
+ climb to 64–76 Hz due to the intense mechanical torque exerted by fusion torch
+ drives. Life support shifts to high-velocity white noise rushing through
+ breathing masks and crash couches, and pulse rates leap to 58–64 bpm.
+
+This distinction explains why `industrial` presets cannot use a single engine
+template: freight requires sluggish subterranean weight, while torch ships
+demand aggressive, high-pressure kinetic force.
+
+---
+
+## Soundboard relabeling (Industrial Space)
+
+In `js/config.js`, the `industrial` universe overrides the soundboard and event
+buttons to match the heavy machinery and commercial hazards of deep-space industry:
+
+| Button ID | Generic action / sound | Industrial label | Runtime trigger method | Acoustic output |
+| --- | --- | --- | --- | --- |
+| `btn-geiger` | Radiation detector | **GEIGER COUNTER** | `expandedAudio.synthesizeGeigerBurst` | Rapid, randomized square-wave clicks (2800–3600 Hz) simulating radiation detection. |
+| `btn-dock-clamp` | Heavy docking latch | **HYDRAULIC CLAMPS** | `expandedAudio.synthesizeDockingClamp` | Square-wave solenoid impact (380 to 65 Hz) followed by 180ms pneumatic release hiss. |
+| `btn-relay-click` | Demat switch | **M/TH/UR TELETYPE** | `whoniverseAudio.synthesizeDematSwitch` | Crisp, high-frequency square wave drop (850 to 140 Hz over 60ms) simulating dot-matrix printouts. |
+| `btn-switch-pop` | High-frequency telemetry | **HEAVY SOLENOID** | `telemetry.synthesizeLCARSSingleChirp` | Heavy electronic relay snap arming industrial equipment. |
+| `btn-pneumatic-door` | Docking clamp latch | **PNEUMATIC SEAL PURGE** | `expandedAudio.synthesizeDockingClamp` | High-pressure pneumatic seal equalizing airlock atmosphere. |
+
+### Event buttons (Industrial Space)
+
+| Event Button ID | Trigger label | Event handler / method | Acoustic output |
+| --- | --- | --- | --- |
+| `btn-epstein` | **EPSTEIN BURN** | `expandedAudio.synthesizeEpsteinBurn` | Rising sawtooth plasma whine (140 to 3200 Hz) layered over massive lowpass brown-noise fusion roar. |
+| `btn-airlock-purge` | **PURGE AIRLOCK** | `expandedAudio.synthesizeDockingClamp` | Concussive mechanical clamp impact and sudden pneumatic seal venting. |
+| `btn-reactor-vent` | **REACTOR VENT** | `whoniverseAudio.synthesizeFastReturn` | High-speed descending pitch ramp simulating coolant blow-off from primary reactor buses. |
+
+---
+
+## Element retention map (Industrial Space)
+
+Every preset in the `industrial` universe uses existing synthesizer classes in
+`js/audio.js` without requiring runtime modifications:
+
+| Preset ID | Hull Drone | Warp Core | Life Support | Telemetry | Special Events / Soundboard |
+| --- | --- | --- | --- | --- | --- |
+| `ind-nostromo` | 42 Hz, 95 Hz lp, 0.60 noise | 36 bpm, 52 Hz, `nx` | Brown noise, 130–1400 Hz | `nx` (volume 0.45, density 0.45) | Geiger Counter (`synthesizeGeigerBurst`), M/TH/UR Teletype |
+| `ind-serenity` | 48 Hz, 110 Hz lp, 0.50 noise | 44 bpm, 64 Hz, `nx` | Pink noise, 160–1600 Hz | `tos` (volume 0.35, density 0.35) | Hydraulic Clamps (`synthesizeDockingClamp`), Reactor Vent |
+| `ind-red-dwarf` | 36 Hz, 80 Hz lp, 0.65 noise | 30 bpm, 46 Hz, `nx` | Brown noise, 110–1200 Hz | `nx` (volume 0.25, density 0.20) | Geiger Counter, Heavy Solenoid |
+| `ind-starbug` | 76 Hz, 170 Hz lp, 0.45 noise | 64 bpm, 90 Hz, `tos` | Pink noise, 220–2200 Hz | `tos` (volume 0.50, density 0.55) | Pneumatic Seal Purge, Reactor Vent |
+| `ind-raza` | 54 Hz, 120 Hz lp, 0.48 noise | 50 bpm, 70 Hz, `defiant` | Pink noise, 180–1800 Hz | `ds9` (volume 0.40, density 0.45) | Hydraulic Clamps, Heavy Solenoid |
+| `ind-rocinante` | 64 Hz, 145 Hz lp, 0.55 noise | 58 bpm, 84 Hz, `defiant` | White noise, 200–2100 Hz | `voyager` (volume 0.50, density 0.65) | Epstein Burn (`synthesizeEpsteinBurn`), Purge Airlock |
+| `ind-eagle` | 70 Hz, 160 Hz lp, 0.40 noise | 54 bpm, 88 Hz, `tos` | Pink noise, 210–2000 Hz | `tos` (volume 0.55, density 0.60) | Hydraulic Clamps, Heavy Solenoid |
+| `ind-valley-forge` | 46 Hz, 100 Hz lp, 0.50 noise | 38 bpm, 56 Hz, `nx` | Pink noise, 140–1500 Hz | `nx` (volume 0.35, density 0.30) | Purge Airlock, Drone Servo Sweep |
+
+---
+
+## Missing elements / gap list (Industrial Space)
+
+These are authentic industrial sound elements documented in film and television
+production that are currently simulated by approximations:
+
+| Priority | Element | Source ship | Description | Implementation path |
+| --- | --- | --- | --- | --- |
+| 1 | **Dedicated Mechanical Dot-Matrix / Teletype Chatter** | USCSS Nostromo | Continuous rhythmic chatter of mechanical dot-matrix print heads and multi-pin character strikers for MU/TH/UR, replacing single demat switch clicks. | High: Synthesize burst of randomized 4000 Hz noise impulses with regular stepper-motor carriage advance. |
+| 2 | **Heavy Hydraulic Docking Groan & Mechanical Clang** | USCSS Nostromo / Red Dwarf | Massive low-frequency metal-on-metal groan (30–60 Hz) followed by a ringing sledgehammer-like clamp strike when securing ore umbilicals. | High: Add dual resonant bandpass filter on white-noise burst. |
+| 3 | **Condensation Pipe Drip & Expansion Ticks** | USCSS Nostromo / Serenity | Intermittent high-frequency water drops hitting grated metal catwalks and irregular metallic pings from contracting coolant pipes. | Medium: Randomly triggered high-Q sine pings with short decay. |
+| 4 | **High-Pressure Continuous Steam / Boiler Venting** | Serenity / Starbug | Sustained white-noise steam hiss with flutter modulation, rather than a short fast-return pitch ramp. | Medium: Bandpass white noise (800–2800 Hz) with slow LFO amplitude swell. |
+| 5 | **Crash Couch Hydraulic Gimbal / G-Load Strain** | Rocinante | Heavy servo-motor whining adjusting couch angles during sustained high-G burns. | Medium: Frequency-modulated triangle wave with lowpass body. |
+
+---
+
+## Industrial Space open questions
+
+- **[GAP]** The exact mechanical typewriter and electromechanical relay sources
+ recorded by Terry Rawlings and Jim Shields for the MU/TH/UR interface chamber
+ in *Alien*.
+- **[GAP]** The specific synthesizer models and patch parameters used by Nathan
+ Robitaille and Nelson Ferreira to create the magnetic Epstein drive roar on
+ *The Expanse*.
+- **[GAP]** The physical props and recording techniques used by Frank Warner to
+ create the distinctive servo whirrs and footfalls of the drones in *Silent Running*.
+
+### Where to verify (Industrial Space)
+
+- **British Academy of Film and Television Arts (BAFTA)**: Film awards archive
+ and sound nominations honoring Terry Rawlings for *Alien*.
+- **Motion Picture Sound Editors (MPSE)**: Golden Reel Awards citations for
+ Nelson Ferreira, Kevin Howard, and Nathan Robitaille on *The Expanse*.
+- **Academy of Motion Picture Arts and Sciences (AMPAS)**: Margaret Herrick
+ Library special collections on Frank Warner’s sound work on *Silent Running*.
+- **British Film Institute (BFI) National Archive**: Production logs and studio
+ sound engineering documentation for *Red Dwarf* and *Space: 1999*.
+- **Pinewood Studios Production Archives**: Sound effects library documentation
+ for Brian Johnson and Alan Bell on *Space: 1999*.
+
+---
+
+# Retro Future
+
+The "Retro Future" theme captures eight iconic Golden Age and vintage sci-fi
+vessels from the 1950s through the early 1980s:
+- *Lost in Space*, 1965–1968 (Jupiter 2) — Irwin Allen's classic flying saucer
+- *Blake's 7*, Series 1–3, 1978–1980 (The Liberator) — Terry Nation's alien deep-space cruiser
+- *The Black Hole*, 1979 (USS Cygnus) — Disney's gothic Victorian iron ghost ship
+- *The Black Hole*, 1979 (USS Palomino) — Disney's deep-space exploratory scout
+- *2001: A Space Odyssey*, 1968 (Discovery One) — Stanley Kubrick's pristine interplanetary vessel
+- *Dark Star*, 1974 (Dark Star) — John Carpenter & Dan O'Bannon's counterculture scout ship
+- *The Last Starfighter*, 1984 (Gunstar) — Nick Castle's Rylos space superiority fighter
+- *Buck Rogers in the 25th Century*, 1981 (The Searcher) — Glen A. Larson's deep-space flagship
+
+Acoustically, the Retro Future universe is defined by **the golden era of electronic
+sound synthesis: laboratory audio oscillators, vacuum tube tape delays, analog
+Theremin glissandi, mechanical relays, and soothing artificial gravity centrifuges**.
+Before the advent of digital samplers and multi-track field recording, sci-fi
+soundscapes were hand-crafted using modular synthesizers (Moog, ARP, EMS VCS3),
+sine/square-wave test generators, and physical magnetic tape manipulation. The
+resulting audio is warm, harmonic, speculative, and deeply nostalgic.
+
+## Layer mapping (Retro Future-specific)
+
+| Real concept | App layer | Notes |
+| --- | --- | --- |
+| Hull tone, centrifugal gravity hum, Victorian iron conduction | `hull` (`HullDroneSynth`) | Smooth, harmonic-rich sub-bass beds (38–72 Hz) reflecting spinning centrifuges, flying saucer fields, or heavy iron frames. |
+| Fusion propulsion, alien drive fields, high-rev starfighters | `warp` (`WarpCoreSynth`) | Retro pulse rates (30–68 bpm) spanning slow Kubrick centrifuges to rapid 1980s space fighter burns. |
+| Clean clinical airflow, tired fan blades, helmet oxygen | `lifeSupport` (`LifeSupportSynth`) | Pink, brown, and white noise air beds running between 120 Hz and 2200 Hz. |
+| Mainframe logic tones, astrogator warbles, tape reel clicks | `telemetry` (`TelemetrySynth`) | Telemetry routing borrowed from Trek eras (`tos`, `tng`, `nx`, `voyager`) evoking early mainframe computers and relay switchboards. |
+| Centrifuge spins, astrogator sweeps, HAL 9000 overrides | Events / Soundboard | Bespoke retro astrogator frequency glides, HAL two-tone logic chimes, and magnetic tape reel solenoids. |
+
+---
+
+## Ship-by-ship
+
+### Jupiter 2: Upper Deck Astrogator (Lost in Space, 1965–1968)
+
+**Production context [DOC]:** Created and produced by **Irwin Allen**, *Lost in
+Space* established the archetypal 1960s television space soundscape. Audio design
+was supervised by 20th Century Fox sound editors and sound effects creator
+**Jack Kittler**. Rather than recording mechanical vehicles, the audio team
+utilized early electronic test oscillators, warbling heterodyne audio generators,
+and Theremin-style frequency sweeps to depict advanced space travel.
+
+**[DOC]** The *Jupiter 2* is a two-deck, saucer-shaped spacecraft designed to
+carry the Robinson family to Alpha Centauri. Powered by a nuclear fusion reactor
+and an advanced hyperdrive, its upper flight deck is dominated by the glowing
+circular Astrogator console, flight couches, and the environmental controls of
+the B-9 Environmental Control Robot.
+
+**[OBS]** The upper flight deck soundscape is **melodic, electronic, and continuous**:
+- Continuous Astrogator warble: The central navigation unit emits a continuous,
+ wavering electronic warble and frequency glissando (`synthesizeRetroAstrogator`)
+ modulated by an 8 Hz vibrato.
+- Nuclear propulsion hum: A clean, smooth 68 Hz base frequency (filter cutoff
+ 160 Hz) and 52 bpm TOS-style engine pulse with high resonance (4.0) that hums
+ sweetly without abrasive friction.
+- Clean environmental life support: Gentle pink-noise ventilation (240–2200 Hz)
+ delivering sterile air to the upper observation deck.
+- High-density TOS telemetry: Dense, playful electronic telemetry (density 0.75)
+ with sliding tones, radar pings, and robot logic acknowledgments.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Upper Deck Astrogator Flight Cabin | Smooth, melodic flying saucer resonance (68 Hz base); high resonance factor (3.2); clean electronic warmth. | **[DOC]** |
+| Nuclear Fusion Pulse Core | Rhythmic 52 bpm engine pulse (`pulseShape: 'tos'`); high 96 Hz carrier frequency with 0.3 swirl mix. | **[DOC]** |
+| Upper Cabin Climate Recirculation | High-register pink-noise airflow (240–2200 Hz); light airflow modulation (0.08 depth) maintaining clean atmosphere. | **[OBS]** |
+
+*Covered by:* preset `ret-jupiter-2` (`hull`: volume 0.65, `baseFreq: 68`,
+`filterCutoff: 160`, `resonance: 3.2`, `noiseMix: 0.35`, `harmonicSpread: 1.04`;
+`warp`: volume 0.7, `bpm: 52`, `carrierFreq: 96`, `filterCutoff: 230`,
+`pulseShape: 'tos'`, `resonance: 4.0`, `swirlMix: 0.3`; `lifeSupport`: volume
+0.5, `noiseType: 'pink'`, `highpassFreq: 240`, `lowpassFreq: 2200`,
+`airflowModSpeed: 0.1`, `airflowModDepth: 0.08`; `telemetry.volume: 0.65`,
+`density: 0.75`, `telemetry.era: 'tos'`). High telemetry density (0.75) and TOS
+relays combined with 68 Hz hull resonance perfectly embody Irwin Allen’s cheerful
+1960s electronic optimism.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Astrogator Sweep Glissando | Continuous sliding electronic tone sweeping 440 Hz up to 1180 Hz with 8 Hz vibrato. | `ExpandedSciFiAudioSynth.synthesizeRetroAstrogator` (Soundboard: "Analog Glissando") | **[DOC]** |
+| B-9 Robot Flashing Sensor Beat | Crisp, rhythmic electronic indicator chirp pulsing with B-9's chest light indicators. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Astrogator Beat") | **[DOC]** |
+| Magnetic Tape Data Spooling | Rapid mechanical relay drop and high-speed tape pack acceleration on the flight computer. | `WhoniverseAudioSynth.synthesizeDematSwitch` (Soundboard: "Tape Reel Spool") | **[DOC]** |
+| Hyperdrive Charge Surge | Rising electronic pitch ramp preceding interstellar velocity jump. | `WhoniverseAudioSynth.synthesizeFastReturn` (Soundboard: "Magnetic Tape Latch") | **[OBS]** |
+
+**Assessment:** `ret-jupiter-2` is the definitive sonic portrait of 1960s space
+optimism. The bright 68 Hz hull, fast TOS telemetry, and analog glissando sweep
+bring the classic Robinson voyage to life.
+
+---
+
+### The Liberator: Zen Flight Bridge (Blake's 7, Series 1–3, 1978–1980)
+
+**Production context [DOC]:** Created by **Terry Nation**, *Blake's 7*’s alien
+soundscape was engineered by the legendary **BBC Radiophonic Workshop**, under
+sound designers **Elizabeth Parker**, **Richard Yeoman-Clark**, and
+**Malcolm Clarke**. The team synthesized the sounds of the *Liberator* using the
+massive EMS Synthi 100 modular synthesizer ("the Delaware"), EMS VCS3 units, and
+tape manipulation.
+
+**[DOC]** *The Liberator* (originally *DSV2*) is an enigmatic, hyper-advanced
+alien warship discovered abandoned in deep space by Roj Blake and his rebel crew.
+Powered by advanced alien energy banks and controlled by the telepathic master
+computer Zen (voiced by Peter Tuddenham), the ship is armed with devastating
+neutron blasters and a teleportation system.
+
+**[OBS]** The bridge environment is **crystalline, mysterious, and sophisticated**:
+- Zen mainframe telepathic hum: The bridge is centered around Zen’s hexagonal,
+ pulsing readout screen, emitting a crystalline, harmonic hum (60 Hz base,
+ filter cutoff 135 Hz) that feels sentient rather than industrial.
+- Exotic alien drive field harmonics: The sub-light engines cycle with a smooth,
+ hypnotic 48 bpm cadence (`pulseShape: 'tos'`, 82 Hz carrier) with rich 0.35 swirl
+ modulation.
+- Filtered life-support atmosphere: Pink-noise air handling (200–2000 Hz) maintaining
+ pristine environmental conditions inside alien bulkheads.
+- Zen status logic chirps: TOS-style electronic indicator pings representing
+ Zen analyzing tactical vectors and reporting in his calm, authoritative voice.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Zen Telepathic Flight Bridge | Luminous, alien composite hull resonance (60 Hz base); harmonic spread 1.025; clean, mystical acoustic environment. | **[DOC]** |
+| Liberator Exotic Drive Core | Hypnotic 48 bpm alien propulsion pulse (`pulseShape: 'tos'`); 82 Hz carrier tone with lush 0.35 swirl mix. | **[DOC]** |
+| Alien Environmental Life Support | Clean pink-noise airflow (200–2000 Hz); smooth, quiet ventilation across tiered hexagonal consoles. | **[OBS]** |
+
+*Covered by:* preset `ret-liberator` (`hull`: volume 0.6, `baseFreq: 60`,
+`filterCutoff: 135`, `resonance: 2.8`, `noiseMix: 0.4`, `harmonicSpread: 1.025`;
+`warp`: volume 0.65, `bpm: 48`, `carrierFreq: 82`, `filterCutoff: 200`,
+`pulseShape: 'tos'`, `resonance: 3.4`, `swirlMix: 0.35`; `lifeSupport`: volume
+0.55, `noiseType: 'pink'`, `highpassFreq: 200`, `lowpassFreq: 2000`,
+`airflowModSpeed: 0.12`, `airflowModDepth: 0.1`; `telemetry.volume: 0.55`,
+`density: 0.6`, `telemetry.era: 'tos'`). TOS telemetry and 60 Hz base frequencies
+beautifully mirror the BBC Radiophonic Workshop's analog synthesizer experiments.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Zen Telepathic Acknowledgment | Melodic, rising synthesizer tone as Zen activates his hexagonal visualizer ("Affirmative"). | `ExpandedSciFiAudioSynth.synthesizeHalChime` (Soundboard: "HAL Logic Confirm") | **[DOC]** |
+| Neutron Blaster Capacitor Charge | High-voltage electronic frequency glide building up to energy cannon discharge. | `ExpandedSciFiAudioSynth.synthesizeRetroAstrogator` (Event: "Astrogator Sweep") | **[DOC]** |
+| Teleport Bracelet Handshake Pip | Clean electronic carrier tone locking onto surface teleport coordinates. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Astrogator Beat") | **[DOC]** |
+| Main Drive Pulse Boost | Fast-acting pitch ramp as the ship accelerates into full standard by-nine speed. | `WhoniverseAudioSynth.synthesizeFastReturn` (Soundboard: "Magnetic Tape Latch") | **[OBS]** |
+
+**Assessment:** `ret-liberator` captures the exact blend of alien sophistication
+and BBC Radiophonic Workshop analog synthesis that defined *Blake's 7*.
+
+---
+
+### USS Cygnus: Victorian Engine Hall (The Black Hole, 1979)
+
+**Production context [DOC]:** Directed by Gary Nelson, *The Black Hole* was Walt
+Disney Productions’ most ambitious sci-fi production. Sound design was led by
+**Stephen Katz** with sound consultation by **Ben Burtt**. The sound team miked
+real hydroelectric power plants, massive water turbines, and foundry equipment to
+create the sound of a gothic Victorian cathedral in space.
+
+**[DOC]** The *USS Cygnus* is an enormous, skeletal deep-space research vessel
+measuring over half a mile long, commanded by the megalomaniacal Dr. Hans Reinhardt.
+Constructed from dark iron and glowing with amber chandeliers, the ship defies
+the intense gravitational tides of an adjacent black hole using a gravity-nullifying
+force field.
+
+**[OBS]** The engine hall and command decks are **gargantuan, gothic, and cavernous**:
+- Deep Victorian iron conduction: An immense, grinding 38 Hz sub-bass rumble
+ (filter cutoff 90 Hz) with heavy noise mix (0.60) vibrating through lattice-work
+ iron catwalks.
+- Massive drive pistons: Rhythmic, ponderous 36 bpm engine cadence (`pulseShape: 'nx'`,
+ 52 Hz carrier) driving heavy anti-gravity generators and drive shafts.
+- Chilled, cavernous air: Thick brown-noise ventilation (120–1300 Hz) echoing
+ through hundreds of feet of empty iron vaults.
+- Muffled mechanical relays: NX-style heavy relay thunks representing Dr. Reinhardt’s
+ silent sentry robots and mechanical command consoles.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Victorian Iron Cathedral Engine Hall | Gargantuan, echoing iron hull reverberation (38 Hz base); heavy mechanical dampening; gothic acoustic scale. | **[DOC]** |
+| Gravity-Nullifying Piston Drive | Ponderous, slow 36 bpm engine thrum (`pulseShape: 'nx'`); 52 Hz carrier tone vibrating iron observation decks. | **[DOC]** |
+| Cavernous Structural Ventilation | Damp brown-noise air handling (120–1300 Hz); low-speed air currents circulating through vast empty bays. | **[OBS]** |
+
+*Covered by:* preset `ret-cygnus` (`hull`: volume 0.85, `baseFreq: 38`,
+`filterCutoff: 90`, `resonance: 2.5`, `noiseMix: 0.6`, `harmonicSpread: 1.015`;
+`warp`: volume 0.75, `bpm: 36`, `carrierFreq: 52`, `filterCutoff: 140`,
+`pulseShape: 'nx'`, `resonance: 3.2`, `swirlMix: 0.25`; `lifeSupport`: volume
+0.6, `noiseType: 'brown'`, `highpassFreq: 120`, `lowpassFreq: 1300`,
+`airflowModSpeed: 0.08`, `airflowModDepth: 0.16`; `telemetry.volume: 0.35`,
+`density: 0.35`, `telemetry.era: 'nx'`). The low 38 Hz base frequency, brown
+noise air bed, and slow NX engine thrum perfectly reproduce the oppressive,
+gothic mass of Disney’s haunted ghost ship.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Anti-Gravity Field Overdrive | Sub-bass harmonic surge holding the ship stationary against the event horizon. | `ExpandedSciFiAudioSynth.synthesizeSingularityEngage` | **[DOC]** |
+| Maximillian Sentry Hover Hum | Ominous, low-register magnetic hum as the red robot enforcer hovers into position. | `ExpandedSciFiAudioSynth.synthesizeRetroAstrogator` (Event: "Astrogator Sweep") | **[DOC]** |
+| Victorian Hydraulic Blast Door | Heavy iron portcullis door slamming down into stone-faced bulkheads. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` | **[OBS]** |
+| Command Bridge Pneumatic Teletype | Mechanical relay click acknowledging Reinhardt’s programmed course into the black hole. | `WhoniverseAudioSynth.synthesizeDematSwitch` (Soundboard: "Tape Reel Spool") | **[OBS]** |
+
+**Assessment:** `ret-cygnus` is marvelously oppressive. Its heavy 38 Hz sub-bass
+and slow 36 bpm NX cadence make it one of the most distinctive "iron gothic"
+presets in the collection.
+
+---
+
+### USS Palomino: Deep Research Pod (The Black Hole, 1979)
+
+**Production context [DOC]:** Sound design created by **Stephen Katz** at Walt
+Disney Productions. In direct contrast to the gigantic *Cygnus*, the *Palomino*
+was designed as a compact, fragile research vessel modeled after NASA lunar
+modules and 1970s submarine interiors.
+
+**[DOC]** The *USS Palomino* is a small deep-space research vessel manned by a
+civilian crew of five (including Captain Dan Holland, Dr. Alex Durant, and V.I.N.CENT
+the robot). Compact, cramped, and functional, it is dispatched to search for
+habitable planets before discovering the derelict *Cygnus* perched on the lip of
+a massive black hole.
+
+**[OBS]** The cabin environment is **intimate, functional, and pressurized**:
+- Tight pressurized hull hum: A clean 54 Hz hull drone (filter cutoff 120 Hz)
+ reflecting a small, well-maintained scientific craft.
+- Steady sub-light engines: Rhythmic 46 bpm engine pulse (`pulseShape: 'nx'`,
+ 68 Hz carrier) providing reliable, unhurried transit thrust.
+- Continuous cabin air circulation: Clean pink-noise life support (180–1700 Hz)
+ filling the compact flight cockpit with comforting white-collar air.
+- Moderate NX telemetry: Balanced, functional relay clicks and sensor sweeps
+ monitoring gravitational sheer and navigation hazards.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Compact Research Flight Pod | Tight, pressurized cabin acoustics (54 Hz base); low resonance factor (2.2); quiet professional work environment. | **[DOC]** |
+| Sub-Light Ion Thrusters | Steady 46 bpm propulsion pulse (`pulseShape: 'nx'`); 68 Hz carrier frequency humming in crew stations. | **[OBS]** |
+| Cockpit Environmental Air Loop | Regulated pink-noise airflow (180–1700 Hz); continuous, balanced ventilation cooling avionics. | **[OBS]** |
+
+*Covered by:* preset `ret-palomino` (`hull`: volume 0.6, `baseFreq: 54`,
+`filterCutoff: 120`, `resonance: 2.2`, `noiseMix: 0.45`, `harmonicSpread: 1.02`;
+`warp`: volume 0.5, `bpm: 46`, `carrierFreq: 68`, `filterCutoff: 170`,
+`pulseShape: 'nx'`, `resonance: 2.8`, `swirlMix: 0.2`; `lifeSupport`: volume
+0.6, `noiseType: 'pink'`, `highpassFreq: 180`, `lowpassFreq: 1700`,
+`airflowModSpeed: 0.14`, `airflowModDepth: 0.1`; `telemetry.volume: 0.45`,
+`density: 0.5`, `telemetry.era: 'nx'`). The balanced 54 Hz hull frequency and
+pink-noise air handling convey an authentic, NASA-inspired exploratory pod.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| V.I.N.CENT Hover Servo Whirr | High-pitched electronic servo and gyroscopic whirr as the robot floats through the cabin. | `ExpandedSciFiAudioSynth.synthesizeRetroAstrogator` (Event: "Astrogator Sweep") | **[DOC]** |
+| Docking Umbilical Latch Clamp | Mechanical clamp engaging the *Cygnus*’s decaying external docking gantry. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` | **[DOC]** |
+| Navigational Gravity Alarm | Electronic alert pulse warning the crew of catastrophic tidal gravitational pull. | `telemetry.synthesizeSensorSweep` (Soundboard: "Analog Glissando") | **[OBS]** |
+| Cockpit Mainframe Keypad | Tactile mechanical key click logging deep-space telemetry coordinates. | `WhoniverseAudioSynth.synthesizeDematSwitch` (Soundboard: "Tape Reel Spool") | **[OBS]** |
+
+**Assessment:** `ret-palomino` is a pristine miniature. Its moderate 54 Hz tone
+and pink noise air bed make it the perfect human-scale foil to the gargantuan *Cygnus*.
+
+---
+
+### Discovery One: Habitation Centrifuge (2001: A Space Odyssey, 1968)
+
+**Production context [DOC]:** Directed by **Stanley Kubrick**, with sound
+supervision by **Winston Ryder**. *2001* is widely considered the most influential
+sound design in cinematic science fiction. Kubrick insisted on absolute acoustic
+realism: zero sound in external space, long stretches of pure internal silence,
+rhythmic astronaut breathing in spacesuits, and the hypnotic, smooth mechanical hum
+of the ship's 38-foot rotating habitation centrifuge.
+
+**[DOC]** The *USSC Discovery One* is an interplanetary spacecraft bound for
+Jupiter, commanded by mission pilots David Bowman and Frank Poole, with three
+scientists in cryo-stasis, overseen by the HAL 9000 heuristic computer. The ship's
+command sphere contains a massive rotating centrifuge spinning at 3 rpm to produce
+artificial gravity equivalent to lunar weight (0.16 g).
+
+**[OBS]** The centrifuge interior soundscape is **hypnotic, clinical, and pristine**:
+- Smooth centrifuge rotation drone: A clean, low-resonance 46 Hz hum (resonance 1.8)
+ reflecting the continuous, perfectly balanced mechanical spin of the living carousel.
+- Barely audible propulsion: The nuclear pulse engines are far back along the
+ spinal truss; inside the centrifuge, the drive is a distant, gentle 30 bpm
+ whisper (`pulseShape: 'tng'`, 50 Hz carrier, volume 0.30).
+- Sterile environmental circulation: Generous, soothing pink-noise air handling
+ (150–1500 Hz, volume 0.70) delivering filtered, dehumidified air to the jogging track.
+- The HAL 9000 soft logic chime: HAL’s interface does not screech or blare; it
+ emits pure, gentle two-tone chimes (`synthesizeHalChime()`, 784 Hz down to 523 Hz)
+ reflecting his polite, conversational voice.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| 38-Foot Habitation Centrifuge | Hypnotic, perfectly balanced rotation hum (46 Hz base); minimal resonance (1.8); pure clinical serenity. | **[DOC]** |
+| Distant Nuclear Drive (Centrifuge View) | Extremely quiet 30 bpm engine whisper (`pulseShape: 'tng'`); 50 Hz carrier tone; volume 0.30. | **[DOC]** |
+| Clinical Oxygen Recirculation | Expansive, gentle pink-noise airflow (150–1500 Hz, volume 0.70); soothing environmental ventilation for long voyages. | **[DOC]** |
+
+*Covered by:* preset `ret-discovery-one` (`hull`: volume 0.65, `baseFreq: 46`,
+`filterCutoff: 95`, `resonance: 1.8`, `noiseMix: 0.4`, `harmonicSpread: 1.01`;
+`warp`: volume 0.3, `bpm: 30`, `carrierFreq: 50`, `filterCutoff: 110`,
+`pulseShape: 'tng'`, `resonance: 2.0`, `swirlMix: 0.1`; `lifeSupport`: volume
+0.7, `noiseType: 'pink'`, `highpassFreq: 150`, `lowpassFreq: 1500`,
+`airflowModSpeed: 0.08`, `airflowModDepth: 0.14`; `telemetry.volume: 0.3`,
+`density: 0.25`, `telemetry.era: 'tng'`). High life-support volume (0.70)
+combined with low warp volume (0.30) and `synthesizeHalChime()` captures the
+unforgettable, tranquil clinical majesty of Kubrick’s masterpiece.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| HAL 9000 Logic Confirmation Chime | Pure, polite two-tone sine chime (G5: 784 Hz to C5: 523 Hz) confirming computer diagnostic. | `ExpandedSciFiAudioSynth.synthesizeHalChime` (Soundboard: "HAL Logic Confirm") | **[DOC]** |
+| Centrifuge Spin Acceleration | Gentle increase in rotation frequency as artificial gravity trims are adjusted. | `ExpandedSciFiAudioSynth.synthesizeRetroAstrogator` (Event: "Centrifuge Spin") | **[DOC]** |
+| Cryo-Bed EKG Status Pip | Gentle, rhythmic physiological telemetry monitoring hibernating crew members. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Astrogator Beat") | **[DOC]** |
+| EVA Pod Airlock Depressurization | Smooth, controlled release of air pressure prior to pod deployment into space. | `ExpandedSciFiAudioSynth.synthesizeAirHandlerThud` | **[OBS]** |
+
+**Assessment:** `ret-discovery-one` is a masterpiece of acoustic serenity. Its
+gentle pink-noise life support and soft HAL chime evoke the vast, meditative
+grandeur of interplanetary space.
+
+---
+
+### Dark Star: Bomb Bay & Quarters (Dark Star, 1974)
+
+**Production context [DOC]:** Directed by **John Carpenter** and co-written by
+**Dan O'Bannon** (who also starred and served as visual/sound supervisor), *Dark
+Star* was produced on an ultra-low independent budget. Carpenter synthesized the
+sound effects and score on early analog synthesizers, recording dripping pipes,
+clicking switches, and dry fan hums to depict an exhausted crew on a twenty-year
+mission.
+
+**[DOC]** The *Dark Star* is an aging scout vessel tasked with destroying
+"unstable planets" that threaten future Earth colonization using sentient,
+philosophical thermonuclear bombs. The ship is decrepit, peeling, and broken: the
+bunkrooms are filthy, toilet paper is out of stock, and the primary computer is
+exhausted.
+
+**[OBS]** The living quarters and bomb bay audio bed is **tired, glitchy, and worn**:
+- Rattling commercial hull drone: A gritty 52 Hz hull vibration (filter cutoff
+ 115 Hz, noise mix 0.55) reflecting an unmaintained, twenty-year-old scout vessel.
+- Struggling sub-light engines: Rhythmic 42 bpm engine pulse (`pulseShape: 'nx'`,
+ 64 Hz carrier) with unshielded motor noise.
+- Sputtering brown-noise air handlers: Tired, clogged air filtration (160–1600 Hz)
+ chugging with irregular airflow modulation (0.15 depth).
+- Glitchy thermonuclear bomb circuits: Dry, primitive TOS-style telemetry
+ representing the ticking, debating electronics of Thermonuclear Bomb #20.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Rundown Scout Quarters & Galley | Grimy, tired hull vibration (52 Hz base); loose ceiling panels; rattling coffee cups in uncleaned mess hall. | **[DOC]** |
+| Unmaintained Scout Sub-Light Drive | Ragged 42 bpm propulsion pulse (`pulseShape: 'nx'`); 64 Hz carrier frequency humming in floorplates. | **[OBS]** |
+| Clogged Brown-Noise Air Scrubbers | Tired, noisy ventilation (160–1600 Hz); high airflow fluctuation simulating worn blower bearings. | **[OBS]** |
+
+*Covered by:* preset `ret-dark-star` (`hull`: volume 0.7, `baseFreq: 52`,
+`filterCutoff: 115`, `resonance: 2.6`, `noiseMix: 0.55`, `harmonicSpread: 1.03`;
+`warp`: volume 0.55, `bpm: 42`, `carrierFreq: 64`, `filterCutoff: 160`,
+`pulseShape: 'nx'`, `resonance: 3.0`, `swirlMix: 0.2`; `lifeSupport`: volume
+0.65, `noiseType: 'brown'`, `highpassFreq: 160`, `lowpassFreq: 1600`,
+`airflowModSpeed: 0.15`, `airflowModDepth: 0.15`; `telemetry.volume: 0.45`,
+`density: 0.4`, `telemetry.era: 'tos'`). Brown noise life support and NX pulses
+brilliantly capture the exhausted, counterculture isolation of Carpenter’s crew.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Thermonuclear Bomb #20 Logic Ping | Primitive electronic beep as Bomb 20 ponders Descartes' phenomenology of existence. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Astrogator Beat") | **[DOC]** |
+| Bomb Bay Dropper Arm Squeak | Squeaking metal hinge releasing the bomb cradle into ventral drop position. | `ExpandedSciFiAudioSynth.synthesizeDockingClamp` | **[DOC]** |
+| Analog Tape Computer Readout | Rapid relay chatter and flutter as the automated ship’s computer announces failure. | `WhoniverseAudioSynth.synthesizeDematSwitch` (Soundboard: "Tape Reel Spool") | **[OBS]** |
+| Radiator Overheat Valve Hiss | High-pressure pneumatic whistle as the cooling system vents excess boiler heat. | `WhoniverseAudioSynth.synthesizeFastReturn` (Soundboard: "Magnetic Tape Latch") | **[OBS]** |
+
+**Assessment:** `ret-dark-star` is a comedic, gritty triumph. Its brown-noise
+life support and ragged NX pulses faithfully reproduce the feeling of being
+trapped for twenty years in a flying tin can.
+
+---
+
+### Gunstar: Tactical Combat Cockpit (The Last Starfighter, 1984)
+
+**Production context [DOC]:** Directed by Nick Castle, *The Last Starfighter*
+was a milestone in computer-generated imagery (CGI) and digital sound editing.
+Sound design was supervised by **Gene Corso**, with digital electronic audio
+effects engineered at Soundelux. The audio team designed the Gunstar soundscape to
+feel like a high-tech, responsive arcade machine brought into military reality.
+
+**[DOC]** The *Gunstar* is a two-seat space superiority fighter built by the
+Star League of Rylos to defend the Frontier against the Ko-Dan Armada. Flown by
+a pilot and a navigator (Alex Rogan and Grig), it features twin high-thrust
+reaction engines, twin dual-laser turrets, photon torpedoes, and the devastating
+emergency superweapon: the Death Blossom.
+
+**[OBS]** The cockpit acoustic profile is **fast, aggressive, and electronic**:
+- High-frequency fighter frame vibration: An agile, tense 72 Hz hull tone (filter
+ cutoff 165 Hz, resonance 3.4) capturing the kinetic energy of an unshielded
+ cockpit.
+- Fast-cycling combat propulsion: Rapid 68 bpm propulsion pulses (`pulseShape: 'defiant'`,
+ 88 Hz carrier) delivering blistering multi-axis acceleration.
+- High-pressure white-noise life support: Sharp white-noise airflow (220–2100 Hz)
+ pressurizing the canopy and cooling tactical displays during sustained dogfights.
+- Rapid tactical targeting telemetry: Dense, playful Voyager-style electronic
+ pings (density 0.70) monitoring Ko-Dan fighters and weapon capacitor locks.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Two-Seat Combat Cockpit Shell | Tense, energetic fighter frame hum (72 Hz base); high resonance (3.4); crisp electronic arcade ambiance. | **[DOC]** |
+| High-Rev Star League Thrusters | Rapid, aggressive 68 bpm combat pulse (`pulseShape: 'defiant'`); 88 Hz carrier frequency with 0.35 swirl mix. | **[DOC]** |
+| Tactical Avionics Air Scrubbers | High-register white-noise airflow (220–2100 Hz); rapid airflow modulation (0.18 speed) cooling weapon banks. | **[OBS]** |
+
+*Covered by:* preset `ret-gunstar` (`hull`: volume 0.7, `baseFreq: 72`,
+`filterCutoff: 165`, `resonance: 3.4`, `noiseMix: 0.45`, `harmonicSpread: 1.035`;
+`warp`: volume 0.75, `bpm: 68`, `carrierFreq: 88`, `filterCutoff: 240`,
+`pulseShape: 'defiant'`, `resonance: 4.2`, `swirlMix: 0.35`; `lifeSupport`: volume
+0.5, `noiseType: 'white'`, `highpassFreq: 220`, `lowpassFreq: 2100`,
+`airflowModSpeed: 0.18`, `airflowModDepth: 0.12`; `telemetry.volume: 0.6`,
+`density: 0.7`, `telemetry.era: 'voyager'`). Fast 68 bpm Defiant warp pulses,
+white noise life support, and high telemetry density (0.70) capture the thrilling,
+high-score arcade intensity of Grig’s gunship.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Death Blossom Capacitor Spin-Up | Rising, multi-frequency capacitor scream as the ship spins wildly in all directions. | `ExpandedSciFiAudioSynth.synthesizeRetroAstrogator` (Event: "Astrogator Sweep") | **[DOC]** |
+| Ko-Dan Target Acquisition Pip | High-speed electronic lock tone signaling a firing solution on a Ko-Dan mothership. | `telemetry.synthesizeSensorSweep` (Soundboard: "Analog Glissando") | **[DOC]** |
+| Photon Torpedo Tube Charge | Heavy solenoid clunk and capacitor charge arming the forward torpedo launcher. | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Astrogator Beat") | **[OBS]** |
+| Star League Thruster Burst | Sudden burst of high-frequency white noise accelerating out of the Frontier breach. | `WhoniverseAudioSynth.synthesizeFastReturn` (Soundboard: "Magnetic Tape Latch") | **[OBS]** |
+
+**Assessment:** `ret-gunstar` delivers phenomenal energy. Its 72 Hz base frequency,
+68 bpm Defiant pulses, and rapid Voyager telemetry make it feel like a living,
+breathing 1980s vector-graphics combat simulator.
+
+---
+
+### The Searcher: 25th Century Flagship (Buck Rogers in the 25th Century, 1981)
+
+**Production context [DOC]:** Created by **Glen A. Larson**, Season 2 of *Buck
+Rogers in the 25th Century* shifted from planetary defense on Earth to deep-space
+exploration aboard the exploration vessel *The Searcher*. Sound design was
+supervised by Academy Award-winning sound editor **Peter Berkos** (*The Hindenburg*),
+blending 1970s television orchestral scoring with sleek, synthesizer-driven ship
+ambiances.
+
+**[DOC]** *The Searcher* is an expansive deep-space exploration flagship
+dispatched by Earth’s Directorate to seek out lost human colonies across the
+galaxy. Commanded by Admiral Efram Asimov and carrying Buck Rogers, Wilma Deering,
+and the robot Twiki, the vessel features large, carpeted command decks, crystalline
+navigation holoscreens, and advanced computer systems.
+
+**[OBS]** The command deck soundscape is **smooth, stately, and polished**:
+- Smooth 25th-century composite hull hum: A dignified 62 Hz base frequency (filter
+ cutoff 140 Hz) conveying a stable, luxurious exploration flagship.
+- Dignified fusion drive purr: Harmonious 54 bpm engine pulses (`pulseShape: 'tng'`,
+ 78 Hz carrier) providing smooth, vibration-free interstellar transit.
+- Regulated multi-deck climate control: Balanced pink-noise air handling
+ (210–2000 Hz) circulating smoothly through command rooms and crew quarters.
+- Crisp Directorate computer tones: TNG-style musical telemetry (density 0.65)
+ representing advanced astrogation computers, sensor scans, and robot communications.
+
+#### Ambience bed
+
+| Element | Character | Confidence |
+| --- | --- | --- |
+| Directorate Flagship Command Deck | Polished, stately composite hull resonance (62 Hz base); smooth structural dampening; high-tech prestige. | **[DOC]** |
+| Interstellar Exploration Fusion Drive | Harmonious 54 bpm engine pulse (`pulseShape: 'tng'`); 78 Hz carrier tone with 0.3 swirl mix. | **[OBS]** |
+| Flagship Environmental Life Support | Regulated pink-noise ventilation (210–2000 Hz); balanced airflow servicing extensive multi-tier decks. | **[OBS]** |
+
+*Covered by:* preset `ret-searcher` (`hull`: volume 0.6, `baseFreq: 62`,
+`filterCutoff: 140`, `resonance: 2.6`, `noiseMix: 0.38`, `harmonicSpread: 1.025`;
+`warp`: volume 0.6, `bpm: 54`, `carrierFreq: 78`, `filterCutoff: 210`,
+`pulseShape: 'tng'`, `resonance: 3.2`, `swirlMix: 0.3`; `lifeSupport`: volume
+0.55, `noiseType: 'pink'`, `highpassFreq: 210`, `lowpassFreq: 2000`,
+`airflowModSpeed: 0.14`, `airflowModDepth: 0.1`; `telemetry.volume: 0.55`,
+`density: 0.65`, `telemetry.era: 'tng'`). TNG telemetry and pulse shapes give
+*The Searcher* the regal, benevolent exploration atmosphere characteristic of
+Glen A. Larson’s late-70s / early-80s space epics.
+
+#### Discrete sounds
+
+| Sound | Character | Existing element | Confidence |
+| --- | --- | --- | --- |
+| Long-Range Navigation Scan Sweep | Multi-tone rising frequency sweep searching the quadrant for lost human colonies. | `telemetry.synthesizeSensorSweep` (Soundboard: "Analog Glissando") | **[DOC]** |
+| Twiki Electronic Logic Chirp | High-pitched electronic warble complementing the robot's vocal banter ("Biddi-biddi-biddi"). | `telemetry.synthesizeLCARSSingleChirp` (Soundboard: "Astrogator Beat") | **[DOC]** |
+| Defense Shield Harmonic Lock | Resonant acoustic chime confirming forward deflector grid activation. | `ExpandedSciFiAudioSynth.synthesizeHalChime` (Soundboard: "HAL Logic Confirm") | **[OBS]** |
+| Stargate Jump Transition | Ascending electronic pitch ramp as the ship transits hyperspace jump gates. | `WhoniverseAudioSynth.synthesizeFastReturn` (Soundboard: "Magnetic Tape Latch") | **[OBS]** |
+
+**Assessment:** `ret-searcher` captures the optimistic, orchestral polish of
+early 1980s television space exploration. Its 62 Hz base tone and TNG telemetry
+blend stately comfort with exploratory curiosity.
+
+---
+
+## Design constraint: Analog laboratory vs. acoustic realism
+
+The Retro Future universe is governed by a unique historical design constraint:
+the divide between **laboratory electronic sound synthesis** and **modern
+acoustic realism**:
+
+```
++-------------------------------------------------------------------------+
+| RETRO ELECTRONIC SYNTHESIS MATRIX |
++-------------------------------------------------------------------------+
+| |
+| 1950s–1970s LABORATORY SYNTHESIS (Jupiter 2, Liberator, Dark Star) |
+| - Sound generated with test audio oscillators, Theremins, and tape loops|
+| - Pure sine and square waves; audible heterodyne vibratos (8 Hz) |
+| - Physical mechanical relay drops and magnetic tape reel spooling |
+| - Reverb created using physical metal plates and spring tanks |
+| - Melodic, playful, and speculative frequency glissandi |
+| |
+| MEDITATIVE CLINICAL REALISM (Discovery One) |
+| - Strict acoustic silence outside; hyper-pure clinical air inside |
+| - Low-resonance rotating centrifuge hum (46 Hz base, 1.8 resonance) |
+| - Gentle two-tone heuristic computer chimes (G5 to C5, 784/523 Hz) |
+| - Deliberate, contemplative audio pacing (30 bpm pulse cadence) |
+| |
++-------------------------------------------------------------------------+
+```
+
+1. **Pure Laboratory Waveforms & Tape Mechanics:** In 1960s and 1970s television
+ productions (such as *Lost in Space* and *Blake's 7*), sound designers lacked
+ digital workstations. Sounds were generated using laboratory audio equipment:
+ heterodyne oscillators, ring modulators, and tape recorders. These sounds have
+ clear, distinct harmonic structures: pure sine sweeps, crisp square-wave clicks,
+ and physical tape flutter.
+2. **Clinical Purity & Centrifugal Restraint:** In *2001: A Space Odyssey*,
+ Stanley Kubrick and Winston Ryder demonstrated that science fiction could be
+ acoustically subtle and dignified. Instead of buzzing lasers and whining gears,
+ *Discovery One* relies on the smooth, perfectly balanced mechanical spin of its
+ centrifuge, filtered pink noise, and soft logic chimes.
+
+This historical evolution explains why `retrofuture` presets span from bubbly
+test-oscillator warbles (*Jupiter 2*) to solemn, clinical serenity (*Discovery One*).
+
+---
+
+## Soundboard relabeling (Retro Future)
+
+In `js/config.js`, the `retrofuture` universe overrides the soundboard and event
+buttons to match the electronic oscillators and vintage computers of the Golden Age:
+
+| Button ID | Generic action / sound | Retro Future label | Runtime trigger method | Acoustic output |
+| --- | --- | --- | --- | --- |
+| `btn-hal-chime` | Soft logic confirmation | **HAL LOGIC CONFIRM** | `expandedAudio.synthesizeHalChime` | Pure two-tone sine chime (784 Hz followed by 523 Hz) with gentle exponential decay. |
+| `btn-relay-click` | Demat switch | **TAPE REEL SPOOL** | `whoniverseAudio.synthesizeDematSwitch` | Square-wave solenoid drop (850 to 140 Hz over 60ms) simulating tape head engage. |
+| `btn-chirp-single` | Single telemetry chirp | **ASTROGATOR BEAT** | `telemetry.synthesizeLCARSSingleChirp` | Clean, high-register electronic pip signaling indicator pulse. |
+| `btn-chirp-sweep` | Sensor sweep up | **ANALOG GLISSANDO** | `telemetry.synthesizeSensorSweep` | Multi-frequency rising electronic sweep simulating audio test oscillator. |
+| `btn-fast-return` | Fast-return spring lever | **MAGNETIC TAPE LATCH** | `whoniverseAudio.synthesizeFastReturn` | Spring recoil clack and resonant mechanical ring on vintage tape deck. |
+
+### Event buttons (Retro Future)
+
+| Event Button ID | Trigger label | Event handler / method | Acoustic output |
+| --- | --- | --- | --- |
+| `btn-centrifuge` | **CENTRIFUGE SPIN** | `expandedAudio.synthesizeRetroAstrogator` | Continuous sliding sine tone (440 to 1180 to 320 to 660 Hz) modulated with 8 Hz vibrato. |
+| `btn-astrogator` | **ASTROGATOR SWEEP** | `expandedAudio.synthesizeRetroAstrogator` | Classic Theremin-style electronic frequency glissando over 1.6s. |
+| `btn-hal-override` | **HAL 9000 OVERRIDE** | `expandedAudio.synthesizeHalChime` | Pure two-tone logic confirmation chime acknowledging mission override. |
+
+---
+
+## Element retention map (Retro Future)
+
+Every preset in the `retrofuture` universe uses existing synthesizer classes in
+`js/audio.js` without requiring runtime modifications:
+
+| Preset ID | Hull Drone | Warp Core | Life Support | Telemetry | Special Events / Soundboard |
+| --- | --- | --- | --- | --- | --- |
+| `ret-jupiter-2` | 68 Hz, 160 Hz lp, 0.35 noise | 52 bpm, 96 Hz, `tos` | Pink noise, 240–2200 Hz | `tos` (volume 0.65, density 0.75) | Analog Glissando (`synthesizeRetroAstrogator`), Astrogator Beat |
+| `ret-liberator` | 60 Hz, 135 Hz lp, 0.40 noise | 48 bpm, 82 Hz, `tos` | Pink noise, 200–2000 Hz | `tos` (volume 0.55, density 0.60) | HAL Logic Confirm (`synthesizeHalChime`), Astrogator Sweep |
+| `ret-cygnus` | 38 Hz, 90 Hz lp, 0.60 noise | 36 bpm, 52 Hz, `nx` | Brown noise, 120–1300 Hz | `nx` (volume 0.35, density 0.35) | Tape Reel Spool (`synthesizeDematSwitch`), Singularity Pulse |
+| `ret-palomino` | 54 Hz, 120 Hz lp, 0.45 noise | 46 bpm, 68 Hz, `nx` | Pink noise, 180–1700 Hz | `nx` (volume 0.45, density 0.50) | Tape Reel Spool, Astrogator Beat |
+| `ret-discovery-one` | 46 Hz, 95 Hz lp, 0.40 noise | 30 bpm, 50 Hz, `tng` | Pink noise, 150–1500 Hz | `tng` (volume 0.30, density 0.25) | HAL Logic Confirm, Centrifuge Spin (`synthesizeRetroAstrogator`) |
+| `ret-dark-star` | 52 Hz, 115 Hz lp, 0.55 noise | 42 bpm, 64 Hz, `nx` | Brown noise, 160–1600 Hz | `tos` (volume 0.45, density 0.40) | Astrogator Beat, Magnetic Tape Latch |
+| `ret-gunstar` | 72 Hz, 165 Hz lp, 0.45 noise | 68 bpm, 88 Hz, `defiant` | White noise, 220–2100 Hz | `voyager` (volume 0.60, density 0.70) | Analog Glissando, Death Blossom Sweep |
+| `ret-searcher` | 62 Hz, 140 Hz lp, 0.38 noise | 54 bpm, 78 Hz, `tng` | Pink noise, 210–2000 Hz | `tng` (volume 0.55, density 0.65) | Astrogator Beat, HAL Logic Confirm |
+
+---
+
+## Missing elements / gap list (Retro Future)
+
+These are authentic vintage sound elements documented in historical production
+that are currently simulated by existing approximations:
+
+| Priority | Element | Source ship | Description | Implementation path |
+| --- | --- | --- | --- | --- |
+| 1 | **Dual-Reel Magnetic Tape Spooler & Pinch Roller Clank** | Jupiter 2 / Discovery One | Mechanical pinch roller solenoid snap followed by rhythmic 15 ips magnetic tape flutter and capstan motor whirr. | High: Combine short square impulse with fluttering pink noise. |
+| 2 | **Continuous Heterodyne / Theremin Navigational Drone** | Jupiter 2 | Continuous, gentle dual-sine wave heterodyning producing a subtle 8 Hz beat frequency in the background room tone. | High: Add secondary detuned sine oscillator to hull synth. |
+| 3 | **HAL 9000 Breathing / Vocal Carrier Ambient Loop** | Discovery One | Very soft, measured human respiration sound echoing inside space helmet or life support loop. | Medium: Rhythmic bandpass pink noise with 3-second cycle. |
+| 4 | **Death Blossom Energy Surge Capacitor Ramp** | Gunstar | Exponentially accelerating multi-oscillator pitch ramp from 200 Hz to 8000 Hz over 2.5 seconds. | Medium: Add cascaded saw oscillators with exponential frequency ramp. |
+| 5 | **Victorian Steam Piston Chug & Iron Camshaft Clatter** | USS Cygnus | Heavy mechanical piston stroke with low-frequency steam exhaust chug echoing off cast-iron bulkheads. | Medium: Lowpass noise burst with rhythmic triangle body. |
+
+---
+
+## Retro Future open questions
+
+- **[GAP]** The exact electronic audio generators and tape echo units used by
+ Jack Kittler and 20th Century Fox for the Jupiter 2 Astrogator sound.
+- **[GAP]** The specific synthesizer patches authored by Elizabeth Parker on
+ the EMS Synthi 100 for Zen’s vocal visualizer and bridge ambiance in *Blake's 7*.
+- **[GAP]** The exact hydroelectric turbine and industrial plant recordings made
+ by Stephen Katz for the *USS Cygnus* engine hall in *The Black Hole*.
+
+### Where to verify (Retro Future)
+
+- **BBC Radiophonic Workshop Archive / British Library Sound Archive**:
+ Documentation on Elizabeth Parker, Richard Yeoman-Clark, and Malcolm Clarke's
+ synthesizer setups for *Blake's 7*.
+- **Stanley Kubrick Archive (University of the Arts London)**: Production sound
+ logs, correspondence, and sound effect reels for Winston Ryder on *2001: A Space
+ Odyssey*.
+- **Walt Disney Studio Archives / Margaret Herrick Library**: Production sound
+ records for Stephen Katz on *The Black Hole*.
+- **20th Century Fox Sound Department Archives**: Historical sound effects
+ libraries for Irwin Allen’s *Lost in Space*.
+- **Universal Studios Sound Archives**: Production sound notes for Peter Berkos
+ on *Buck Rogers in the 25th Century*.
+
+
+
+
+
+
+