- Add sound_reference.md (937 lines): Real-world production reference covering Star Trek (TOS–ENT), Doctor Who/Whoniverse, Bioships (six ships across five franchises), and Space Stations (six stations across five sources).
- Add agents.md: Project architecture guide (file ownership, load order, conventions).
- Add telemetry_elements.md: Catalog of 10 telemetry elements with per-era selection weights and preset-by-preset routing.
- Add visual_elements.md: Canvas/SVG split architecture, layer declarations, per-theme casts.
- Fix duplicate soundboard mapping: Separate 'AIR HANDLER THUD' from 'DOCKING CLAMP LATCH'. Create ExpandedSciFiAudioSynth.synthesizeAirHandlerThud() (dull triangle-wave thump + sub-octave + slow airflow whoosh) distinct from synthesizeDockingClamp() (bright square-wave impact + pneumatic hiss). Update js/app.js to wire btn-air-handler to the new method.
Key findings:
* All 70 presets across 10 universes use Star Trek telemetry eras only — cross-universe borrowing is structural, not accidental.
* Doctor Who TARDIS demat correctly implements Brian Hodgson's 1963 technique (piano strings + tape feedback).
* Sevastopol Station's production sound design (Jeff van Dyck, Pinewood foley) is the best-documented non-Trek entry.
* The Expanse's "jury-rigged" Belter signature (Nelson Ferreira) is the single most actionable production detail found.
Co-Authored-By: Claude Haiku 4.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01NbMozG2xjcgLBia8vrzTrr
Claude
Labyricorn