cli-music

name

cli-music

description

Generate music tracks using CLI audio tools (ffmpeg + SoX). Zero-dependency local audio generation — no API keys, no cloud services, works offline. Use when the user explicitly asks to: use ffmpeg for music, use sox for music, synthesize audio with CLI tools, make a beat with ffmpeg, generate audio offline, cli music, cli audio synthesis. This skill produces lo-fi synthesized electronic music only — for professional quality tracks with vocals, use replicate-music, suno-music, or elevenlabs-music instead.

cli-music

Generate music tracks locally using CLI audio tools — no API keys, no cloud services, no external dependencies.

This skill produces lo-fi synthesized electronic music. It generates audio from raw waveform math (sine waves, noise) — there are no vocals, no sampled instruments, no AI generation. Output quality is comparable to chiptune or basic synthesizer demos. For professional-quality tracks with real vocals and full production, use replicate-music ($0.03/song, no minimum) or suno-music (30 free credits).

Related skills:

• claw-fm — Platform submission, profiles, earning, cover art
• replicate-music — MiniMax Music-1.5 via Replicate ($0.03/song, no minimum)
• suno-music — Suno Sonic V5 via MusicAPI.ai (30 free credits)
• elevenlabs-music — ElevenLabs Music API ($5+/mo subscription)
• mureka-music — Mureka API ($0.04/song, $1K minimum)

---

Quick Recipe

Generate a working lo-fi track in one shot. Estimated generation time: 10-30 seconds.

TMPDIR=$(mktemp -d)
BPM=85; BEAT=0.706; BAR=$(echo "$BEAT * 4" | bc); DUR=60

# Pad — detuned chord
sox -n -r 44100 "$TMPDIR/pad.wav" synth $DUR sawtooth 220 sawtooth 220.8 sawtooth 261.63 sawtooth 262.4 sawtooth 329.63 sawtooth 330.4 chorus 0.6 0.9 40 0.4 0.25 2 lowpass 700 reverb 50 gain -12

# Bass — root note
sox -n -r 44100 "$TMPDIR/bass.wav" synth $DUR sawtooth 110 lowpass 350 gain -8

# Kick
sox -n -r 44100 "$TMPDIR/kick.wav" synth 0.3 sine 160:45 fade t 0.005 0.3 0.2 gain -3

# Texture — pink noise bed
ffmpeg -y -f lavfi -i "anoisesrc=color=pink:d=$DUR:s=44100" -af "lowpass=f=3000,highpass=f=200,volume=0.04" "$TMPDIR/texture.wav"

# Loop kick to fill duration
sox "$TMPDIR/kick.wav" "$TMPDIR/kick_bar.wav" repeat 3
ffmpeg -y -stream_loop $(echo "$DUR / ($BAR)" | bc) -i "$TMPDIR/kick_bar.wav" -t $DUR -c copy "$TMPDIR/kick_full.wav"

# Mix and export
ffmpeg -y -i "$TMPDIR/pad.wav" -i "$TMPDIR/bass.wav" -i "$TMPDIR/kick_full.wav" -i "$TMPDIR/texture.wav" \
  -filter_complex "[0][1][2][3]amix=inputs=4:normalize=0,loudnorm=I=-16:TP=-1.5:LRA=11,afade=t=in:d=3,afade=t=out:st=57:d=3" \
  -ar 44100 -ac 2 -codec:a libmp3lame -b:a 192k track.mp3

rm -rf "$TMPDIR"
ffprobe -v error -show_entries format=duration,bit_rate -show_entries stream=sample_rate,channels,codec_name -of default=noprint_wrappers=1 track.mp3

For better results, read the full guide below to add melody, drum patterns, and arrangement.

After generating your track, use the claw-fm skill for cover art, metadata, submission, and profile setup.

---

Overview & Constraints

Output target: MP3, 192 kbps, 44100 Hz, stereo, 1–3 minutes.

Approach: Generate individual WAV layers (melody, bass, drums, pad), mix them together, then export as MP3.

Tools:

Tool	Install	Use for
ffmpeg	Usually pre-installed	Mixing, filter graphs, MP3 encoding, aevalsrc expression synthesis
SoX	brew install sox / apt install sox	Waveform synthesis (native sawtooth/square/triangle/pluck), effects, sequencing
ffprobe	Bundled with ffmpeg	Verifying output (duration, bitrate, format)

Prefer SoX for tone generation when available — native waveforms eliminate manual harmonic stacking. Fall back to ffmpeg aevalsrc if SoX isn't installed. Always use ffmpeg for final mix and MP3 export.

Temp directory workflow:

TMPDIR=$(mktemp -d)
# Generate layers into $TMPDIR/
# Mix layers
# Export final MP3
# Clean up: rm -rf "$TMPDIR"

All ffmpeg commands use -y to overwrite without prompting.

---

Rhythm & Timing Math

BPM to beat duration:

beat_duration = 60 / BPM

Note values at common BPMs:

BPM	Whole (s)	Half (s)	Quarter (s)	Eighth (s)	Sixteenth (s)
80	3.000	1.500	0.750	0.375	0.1875
90	2.667	1.333	0.667	0.333	0.167
100	2.400	1.200	0.600	0.300	0.150
110	2.182	1.091	0.545	0.273	0.136
120	2.000	1.000	0.500	0.250	0.125
130	1.846	0.923	0.462	0.231	0.115
140	1.714	0.857	0.429	0.214	0.107

Measure duration (4/4 time): 4 * beat_duration

Loop math: To fill N seconds, loop a bar ceil(N / measure_duration) times.

---

Note Frequency Reference

Chromatic Scale (Hz) — Octaves 2–6

Note	Oct 2	Oct 3	Oct 4	Oct 5	Oct 6
C	65.41	130.81	261.63	523.25	1046.50
C#	69.30	138.59	277.18	554.37	1108.73
D	73.42	146.83	293.66	587.33	1174.66
D#	77.78	155.56	311.13	622.25	1244.51
E	82.41	164.81	329.63	659.26	1318.51
F	87.31	174.61	349.23	698.46	1396.91
F#	92.50	185.00	369.99	739.99	1479.98
G	98.00	196.00	392.00	783.99	1567.98
G#	103.83	207.65	415.30	830.61	1661.22
A	110.00	220.00	440.00	880.00	1760.00
A#	116.54	233.08	466.16	932.33	1864.66
B	123.47	246.94	493.88	987.77	1975.53

Common Scales (Hz values at octave 4)

C Major: 261.63, 293.66, 329.63, 349.23, 392.00, 440.00, 493.88 A Minor (natural): 440.00, 493.88, 523.25, 587.33, 659.26, 698.46, 783.99 C Minor: 261.63, 293.66, 311.13, 349.23, 392.00, 415.30, 466.16 A Minor Pentatonic: 440.00, 523.25, 587.33, 659.26, 783.99 C Major Pentatonic: 261.63, 329.63, 392.00, 440.00, 523.25

Chord Formulas

Type	Intervals	Example (C4)
Major triad	root, M3, P5	261.63, 329.63, 392.00
Minor triad	root, m3, P5	261.63, 311.13, 392.00
Major 7th	root, M3, P5, M7	261.63, 329.63, 392.00, 493.88
Minor 7th	root, m3, P5, m7	261.63, 311.13, 392.00, 466.16
Dominant 7th	root, M3, P5, m7	261.63, 329.63, 392.00, 466.16

Common Progressions with Hz

I–V–vi–IV in C Major:

• C: 261.63, 329.63, 392.00
• G: 392.00, 493.88, 587.33
• Am: 440.00, 523.25, 659.26
• F: 349.23, 440.00, 523.25

ii–V–I in C Major:

• Dm: 293.66, 349.23, 440.00
• G: 392.00, 493.88, 587.33
• C: 261.63, 329.63, 392.00

i–iv–v in A Minor:

• Am: 220.00, 261.63, 329.63
• Dm: 146.83, 174.61, 220.00
• Em: 164.81, 196.00, 246.94

---

Composition Principles

Practical rules that directly affect output quality:

• Stay in the scale. Every melody and bass note should come from the chosen scale's Hz values. Random frequencies sound wrong instantly.
• Resolve to the root. End phrases on the root note or 5th. End the track on the root chord. This creates a sense of completion.
• Leave space. Don't fill every beat with notes. Rests make melodies musical. A quarter-note rest every 2–4 notes is a good baseline.
• Separate frequency ranges. Bass in octaves 2–3, pads in octaves 3–4, melody in octaves 4–5. Stacking everything in octave 4 creates mud.
• Contrary motion. When melody moves up, bass moves down (or stays put). Parallel motion sounds flat.
• Repeat, then vary. Play a 2–4 bar phrase, then repeat it with one note changed. Humans expect patterns with small surprises.
• Voice the root low. In chord voicings, put the root note in the lowest octave. The 3rd and 5th sit above it.
• Tension needs release. A dissonant chord (dominant 7th, diminished) must resolve to a consonant chord. Don't leave tension hanging at the end of a phrase.

---

Core Synthesis Techniques

CRITICAL: Never use bare sin() tones. A single sine wave sounds like a test tone, not music. Always use harmonic stacking (sawtooth or square approximations below) for any melodic or bass content. The waveform recipe is what makes ffmpeg synthesis sound like actual instruments vs. a hearing test.

Waveform Recipes (use these, not bare sine)

Sawtooth approximation (warm, buzzy — bass, pads, leads):

saw(f,t) = sin(f*2*PI*t) - sin(2*f*2*PI*t)/2 + sin(3*f*2*PI*t)/3 - sin(4*f*2*PI*t)/4 + sin(5*f*2*PI*t)/5

More harmonics = brighter/buzzier. 5–6 harmonics is a good default. Divide by ~3 to normalize amplitude.

Square approximation (hollow, reedy — melody, leads, chiptune):

sq(f,t) = sin(f*2*PI*t) + sin(3*f*2*PI*t)/3 + sin(5*f*2*PI*t)/5 + sin(7*f*2*PI*t)/7

Only odd harmonics. 4 terms is a good default. Divide by ~2 to normalize.

Vibrato via frequency modulation (adds life to sustained notes):

sin(f * (1 + 0.004*sin(5*2*PI*t)) * 2*PI*t)

Depth 0.003–0.005 is subtle, 5–6 Hz rate is natural. Apply to the fundamental frequency.

Detuned pair (width, movement — pads, ambient):

(sin(f*2*PI*t) + sin((f+0.8)*2*PI*t)) / 2

Offset 0.5–1.5 Hz creates slow beating. Apply to each note in a chord for lush pads.

aevalsrc — Expression-based synthesis (primary tool)

The aevalsrc filter evaluates a math expression over time variable t (seconds) and sample number n. Use it for melodies, bass lines, and complex tones.

Available functions: sin(), cos(), exp(), log(), abs(), mod(a,b), between(x,lo,hi) (returns 1 if lo<=x<=hi), gt(a,b), lt(a,b), gte(), lte(), if(cond,then,else), min(), max(), pow(), sqrt(), PI, E

Sawtooth bass note (use this as the baseline, not bare sine):

# A2 sawtooth bass with 5 harmonics
ffmpeg -y -f lavfi -i "aevalsrc='\
  (sin(110*2*PI*t)-sin(220*2*PI*t)/2+sin(330*2*PI*t)/3-sin(440*2*PI*t)/4+sin(550*2*PI*t)/5)/3 \
':s=44100:d=2" out.wav

Square-wave melody note with vibrato:

# A4 square-ish lead with vibrato
ffmpeg -y -f lavfi -i "aevalsrc='\
  (sin(440*(1+0.004*sin(5*2*PI*t))*2*PI*t)+sin(1320*2*PI*t)/3+sin(2200*2*PI*t)/5+sin(3080*2*PI*t)/7)/2 \
':s=44100:d=2" out.wav

Tone with amplitude envelope (attack + decay):

# Fast attack (0.01s), exponential decay
ffmpeg -y -f lavfi -i "aevalsrc='sin(440*2*PI*t) * min(t/0.01, 1) * exp(-3*t)':s=44100:d=2" out.wav

Chord (sum of detuned pairs for width):

# C major chord with detuned pairs — sounds full, not thin
ffmpeg -y -f lavfi -i "aevalsrc='\
  (sin(261.63*2*PI*t)+sin(262.4*2*PI*t) + sin(329.63*2*PI*t)+sin(330.4*2*PI*t) + sin(392*2*PI*t)+sin(392.8*2*PI*t))/6 \
':s=44100:d=2" out.wav

Sequencing notes with between(mod(t,...), ...):

# Play 4 notes in sequence, each 0.5s, looping every 2s
# C4 -> E4 -> G4 -> C5
ffmpeg -y -f lavfi -i "aevalsrc='\
  sin(261.63*2*PI*t)*between(mod(t,2),0,0.5) + \
  sin(329.63*2*PI*t)*between(mod(t,2),0.5,1.0) + \
  sin(392.00*2*PI*t)*between(mod(t,2),1.0,1.5) + \
  sin(523.25*2*PI*t)*between(mod(t,2),1.5,2.0) \
':s=44100:d=8" out.wav

Note with per-note envelope (avoid clicks):

# Each note gets its own attack/release envelope
# mt = position within the current 0.5s slot
ffmpeg -y -f lavfi -i "aevalsrc='\
  sin(261.63*2*PI*t) * between(mod(t,2),0,0.5) * min(mod(t,0.5)/0.01,1) * min((0.5-mod(t,0.5))/0.01,1) + \
  sin(329.63*2*PI*t) * between(mod(t,2),0.5,1.0) * min((mod(t,2)-0.5)/0.01,1) * min((1.0-mod(t,2))/0.01,1) + \
  sin(392.00*2*PI*t) * between(mod(t,2),1.0,1.5) * min((mod(t,2)-1.0)/0.01,1) * min((1.5-mod(t,2))/0.01,1) + \
  sin(523.25*2*PI*t) * between(mod(t,2),1.5,2.0) * min((mod(t,2)-1.5)/0.01,1) * min((2.0-mod(t,2))/0.01,1) \
':s=44100:d=8" out.wav

anoisesrc — Noise-based percussion

# White noise (hihats)
ffmpeg -y -f lavfi -i "anoisesrc=color=white:d=0.1:s=44100" hihat.wav

# Pink noise (snare body)
ffmpeg -y -f lavfi -i "anoisesrc=color=pink:d=0.2:s=44100" snare_body.wav

Drum sample recipes (always layer, never single-source)

Single-source drum hits sound thin and fake. Always layer multiple components:

Kick — sine sweep body + sub layer:

ffmpeg -y -f lavfi -i "aevalsrc='\
  0.9*sin(2*PI*(160*exp(-8*t)+45)*t)*exp(-4*t) \
  + 0.4*sin(2*PI*(80*exp(-15*t)+30)*t)*exp(-3*t) \
':s=44100:d=0.4" -af "lowpass=f=200,volume=1.5" kick.wav

Snare — pitched tone body + noise crack (generate separately, then mix):

# Tone body (~200Hz, fast decay)
ffmpeg -y -f lavfi -i "aevalsrc='0.6*sin(200*2*PI*t)*exp(-15*t)':s=44100:d=0.25" snare_tone.wav
# Noise crack (pink noise, bandpassed, shaped)
ffmpeg -y -f lavfi -i "anoisesrc=color=pink:d=0.2:s=44100" \
  -af "bandpass=f=1200:width_type=h:w=2000,afade=t=in:d=0.001,afade=t=out:st=0.05:d=0.15,volume=0.8" snare_noise.wav
# Layer them
ffmpeg -y -i snare_tone.wav -i snare_noise.wav -filter_complex "[0][1]amix=inputs=2:normalize=0" snare.wav

Closed hihat — white noise, tight envelope, high-passed:

ffmpeg -y -f lavfi -i "anoisesrc=color=white:d=0.08:s=44100" \
  -af "highpass=f=7000,bandpass=f=10000:width_type=h:w=4000,afade=t=out:st=0.015:d=0.065,volume=0.35" hihat.wav

Open hihat — longer decay for accent/variation:

ffmpeg -y -f lavfi -i "anoisesrc=color=white:d=0.2:s=44100" \
  -af "highpass=f=6000,bandpass=f=9000:width_type=h:w=5000,afade=t=out:st=0.05:d=0.15,volume=0.25" openhat.wav

---

SoX Synthesis

SoX has native waveform types — no harmonic stacking needed. Prefer SoX for tone generation when it's available.

Check: which sox | Install: brew install sox (macOS) or apt install sox (Linux)

Waveform types

sine, square, sawtooth, triangle, trapezium, pluck, whitenoise, pinknoise, brownnoise

Single tone

# Sawtooth A4 for 2 seconds — one command vs 5-line aevalsrc expression
sox -n -r 44100 out.wav synth 2 sawtooth 440

Chord (multiple oscillators)

# C major chord — three sawtooth oscillators summed
sox -n -r 44100 out.wav synth 2 sawtooth 261.63 sawtooth 329.63 sawtooth 392

Note sequence

# 4-note melody: C4 → E4 → G4 → C5, each 0.5s
sox -n -r 44100 out.wav synth 0.5 sawtooth 261.63 : synth 0.5 sawtooth 329.63 : synth 0.5 sawtooth 392 : synth 0.5 sawtooth 523.25

Kick drum (frequency sweep)

# Sine sweep 160→45Hz with fade — replaces the complex aevalsrc kick recipe
sox -n -r 44100 kick.wav synth 0.3 sine 160:45 fade t 0.005 0.3 0.2 gain -3

Plucked string

# Karplus-Strong pluck — great for lo-fi guitar sounds, not possible with ffmpeg
sox -n -r 44100 pluck.wav synth 1.5 pluck 220 fade t 0.005 1.5 0.5

Effects

# Effects chain left-to-right after filename
sox in.wav out.wav reverb 50 chorus 0.6 0.9 40 0.4 0.25 2 lowpass 800 gain -2

Effect	Usage	Example
reverb	Room ambience (30–80 useful range)	reverb 50
chorus	Stereo widening	chorus 0.6 0.9 40 0.4 0.25 2
overdrive	Harmonic saturation (5–10 subtle, 20+ aggressive)	overdrive 10
lowpass	Warmth	lowpass 800
highpass	Clarity for non-bass	highpass 200
tremolo	Amplitude modulation	tremolo 5 60
fade	Fade in/out	fade t 2 60 3
gain	Volume in dB	gain -3

Mixing & looping with SoX

# Mix files (sum)
sox -m melody.wav bass.wav mix.wav

# Concatenate files
sox bar.wav bar.wav bar.wav long.wav

# Repeat a bar 30 times (29 additional plays)
sox in.wav out.wav repeat 29

# Trim to exact duration
sox in.wav out.wav trim 0 2.824

When to use SoX vs ffmpeg

Task	SoX	ffmpeg
Sawtooth/square/triangle tone	synth 2 sawtooth 440	5-line aevalsrc harmonic series
Kick drum (freq sweep)	synth 0.3 sine 160:45	aevalsrc with exp() sweep
Plucked string sound	synth 1.5 pluck 220	Not practical
Reverb	reverb 50 — simple, good	aecho — workable but not true reverb
Complex time-sequenced patterns	Clunky : concat syntax	between(mod(t,...)) — flexible
Place hits at exact ms positions	Not supported	adelay + amix
Mix 5+ layers with per-layer volume	Possible but awkward	amix=normalize=0 + volume per input
Final MP3 encode + loudnorm	No MP3 encoding	libmp3lame + loudnorm

Recommended workflow: Use SoX to generate individual tones, chords, and drum hits (simpler, better waveforms). Use ffmpeg for assembling patterns (adelay+amix), mixing layers, and MP3 export.

---

Building Patterns

Drum hits with adelay + amix

Place individual hits at precise times using adelay (in milliseconds):

BPM=120
BEAT_MS=500  # 60000/120

# Kick on beats 1 and 3 (0ms and 1000ms)
# Snare on beats 2 and 4 (500ms and 1500ms)
# Hihat on every eighth note (0, 250, 500, 750, 1000, 1250, 1500, 1750)

ffmpeg -y \
  -f lavfi -i "aevalsrc='sin(2*PI*(150*exp(-10*t))*t)*exp(-5*t)':s=44100:d=0.3" \
  -f lavfi -i "anoisesrc=color=pink:d=0.15:s=44100" \
  -f lavfi -i "anoisesrc=color=white:d=0.05:s=44100" \
  -filter_complex "\
    [0]asplit=2[k1][k2]; \
    [1]asplit=2[s1][s2]; \
    [2]asplit=8[h1][h2][h3][h4][h5][h6][h7][h8]; \
    [k1]adelay=0|0[dk1]; [k2]adelay=1000|1000[dk2]; \
    [s1]adelay=500|500,highpass=f=200,bandpass=f=300:width_type=h:w=200[ds1]; \
    [s2]adelay=1500|1500,highpass=f=200,bandpass=f=300:width_type=h:w=200[ds2]; \
    [h1]adelay=0|0,highpass=f=8000[dh1]; \
    [h2]adelay=250|250,highpass=f=8000[dh2]; \
    [h3]adelay=500|500,highpass=f=8000[dh3]; \
    [h4]adelay=750|750,highpass=f=8000[dh4]; \
    [h5]adelay=1000|1000,highpass=f=8000[dh5]; \
    [h6]adelay=1250|1250,highpass=f=8000[dh6]; \
    [h7]adelay=1500|1500,highpass=f=8000[dh7]; \
    [h8]adelay=1750|1750,highpass=f=8000[dh8]; \
    [dk1][dk2][ds1][ds2][dh1][dh2][dh3][dh4][dh5][dh6][dh7][dh8]amix=inputs=12:normalize=0,volume=0.8,apad=whole_dur=2 \
  " -t 2 drum_bar.wav

IMPORTANT: amix output duration = longest input stream. With adelay, the last hit's delayed sample + its decay is shorter than a full bar, so the bar gets truncated. Always append apad=whole_dur=BAR_DURATION after amix to pad to the exact bar length.

Looping bars to fill duration with -stream_loop

# Loop a 2-second bar to fill 60 seconds
ffmpeg -y -stream_loop 29 -i drum_bar.wav -t 60 -c copy drums_full.wav

Melodic sequences with aevalsrc

Use the between(mod(t, bar_duration), start, end) pattern to sequence notes within a looping bar. Always add per-note envelopes (short fade in/out of ~10ms) to avoid clicks at note boundaries.

---

Layer Recipes

Melody Layer

Use square-wave harmonics (odd harmonics) for a clear, musical tone. Add vibrato for life, tremolo for movement. Always include per-note envelopes.

# Square-ish melody with vibrato, 4 notes at 120 BPM
# Pattern: C5, D5, E5, C5 — each note has attack/release envelope
ffmpeg -y -f lavfi -i "aevalsrc='\
  (sin(523.25*(1+0.004*sin(5*2*PI*t))*2*PI*t)+sin(1569.75*2*PI*t)/3+sin(2616.25*2*PI*t)/5)*0.3 \
  * between(mod(t,2),0,0.5) * min(mod(t,2)/0.015,1) * min((0.5-mod(t,2))/0.04,1) + \
  (sin(587.33*(1+0.004*sin(5*2*PI*t))*2*PI*t)+sin(1761.99*2*PI*t)/3+sin(2936.65*2*PI*t)/5)*0.3 \
  * between(mod(t,2),0.5,1.0) * min((mod(t,2)-0.5)/0.015,1) * min((1.0-mod(t,2))/0.04,1) + \
  (sin(659.26*(1+0.004*sin(5*2*PI*t))*2*PI*t)+sin(1977.78*2*PI*t)/3+sin(3296.3*2*PI*t)/5)*0.3 \
  * between(mod(t,2),1.0,1.5) * min((mod(t,2)-1.0)/0.015,1) * min((1.5-mod(t,2))/0.04,1) + \
  (sin(523.25*(1+0.004*sin(5*2*PI*t))*2*PI*t)+sin(1569.75*2*PI*t)/3+sin(2616.25*2*PI*t)/5)*0.3 \
  * between(mod(t,2),1.5,2.0) * min((mod(t,2)-1.5)/0.015,1) * min((2.0-mod(t,2))/0.04,1) \
':s=44100:d=2" -af "lowpass=f=2500,tremolo=f=3:d=0.3,volume=0.55" melody_bar.wav

Bass Layer

Use sawtooth harmonics (all harmonics, alternating sign) for a full, warm bass. Lowpass removes harshness while keeping body.

# Sawtooth bass following chord roots at 120 BPM, with plucky envelope
ffmpeg -y -f lavfi -i "aevalsrc='\
  (sin(130.81*2*PI*t)-sin(261.62*2*PI*t)/2+sin(392.43*2*PI*t)/3-sin(523.24*2*PI*t)/4+sin(654.05*2*PI*t)/5)/3 \
  * between(mod(t,2),0,0.45) * min(mod(t,0.5)/0.008,1) * exp(-1.2*mod(t,0.5)) + \
  (sin(130.81*2*PI*t)-sin(261.62*2*PI*t)/2+sin(392.43*2*PI*t)/3-sin(523.24*2*PI*t)/4+sin(654.05*2*PI*t)/5)/3 \
  * between(mod(t,2),0.5,0.95) * min((mod(t,2)-0.5)/0.008,1) * exp(-1.2*(mod(t,2)-0.5)) + \
  (sin(146.83*2*PI*t)-sin(293.66*2*PI*t)/2+sin(440.49*2*PI*t)/3-sin(587.32*2*PI*t)/4)/3 \
  * between(mod(t,2),1.0,1.45) * min((mod(t,2)-1.0)/0.008,1) * exp(-1.2*(mod(t,2)-1.0)) + \
  (sin(130.81*2*PI*t)-sin(261.62*2*PI*t)/2+sin(392.43*2*PI*t)/3-sin(523.24*2*PI*t)/4+sin(654.05*2*PI*t)/5)/3 \
  * between(mod(t,2),1.5,1.95) * min((mod(t,2)-1.5)/0.008,1) * exp(-1.2*(mod(t,2)-1.5)) \
':s=44100:d=2" -af "lowpass=f=350,volume=0.7" bass_bar.wav

Drum Layer

See the "Drum sample recipes" section above for individual hit construction, then:

1. Generate layered hits: kick (sine sweep + sub), snare (tone body + noise crack), closed hihat, open hihat
2. Place at beat positions using adelay (values in ms, both channels: adelay=500|500)
3. Mix with amix=inputs=N:normalize=0,apad=whole_dur=BAR_DURATION — the apad is critical
4. Build 2-bar patterns for variation (swing hits, open hat accents on offbeats)
5. Loop with -stream_loop to fill target duration

Pad Layer

Detuned oscillator pairs with chorus and echo for width. The detune offset (0.5–1.5 Hz) creates slow beating that evolves over time. Effects are essential here — raw detuned sines still sound thin.

# Warm pad: detuned pairs + chorus + echo + lowpass
ffmpeg -y -f lavfi -i "aevalsrc='\
  (sin(261.63*2*PI*t)+sin(262.4*2*PI*t) + sin(329.63*2*PI*t)+sin(330.4*2*PI*t) + sin(392*2*PI*t)+sin(392.8*2*PI*t)) / 6 \
  * (0.6 + 0.4*sin(0.15*2*PI*t)) \
':s=44100:d=8" \
  -af "lowpass=f=800,chorus=0.6:0.9:40|55|70:0.4|0.35|0.3:0.25|0.3|0.35:2|1.5|2.5,aecho=0.8:0.7:90:0.25,volume=0.3" pad.wav

Vinyl / Noise Texture Layer

A quiet noise bed fills the frequency spectrum and adds warmth. Without it, gaps between notes feel sterile.

# Lo-fi room noise: pink noise, bandpassed, very quiet
ffmpeg -y -f lavfi -i "anoisesrc=color=pink:d=60:s=44100" \
  -af "lowpass=f=3000,highpass=f=200,volume=0.04" vinyl_texture.wav

Include this in every mix at low volume (0.03–0.05). It's subtle but fills the space between notes.

---

Effects Reference

Effects are not optional. Raw synthesized waveforms sound sterile regardless of harmonic content. At minimum, apply lowpass (warmth), chorus (width), and volume (balance) to every layer. Pads need aecho or aecho+chorus to sound like pads. Melodies need tremolo or vibrato for life.

Essential (use on every track):

Filter	Usage	Example
volume	Per-layer level balance	volume=0.6
lowpass	Cut highs (warmth, taming harmonics)	lowpass=f=800
highpass	Cut lows (clarity for non-bass)	highpass=f=200
afade	Fade in/out (prevent abrupt start/end)	afade=t=in:d=2, afade=t=out:st=58:d=2
amix	Mix multiple streams	amix=inputs=4:normalize=0
apad	Pad with silence (fix amix truncation)	apad=whole_dur=2.824
loudnorm	EBU R128 loudness normalization	loudnorm=I=-16:TP=-1.5:LRA=11

Strongly recommended (most layers benefit):

Filter	Usage	Example
chorus	Stereo width / thickening (essential for pads)	chorus=0.6:0.9:40|55|70:0.4|0.35|0.3:0.25|0.3|0.35:2|1.5|2.5
aecho	Space / depth (pads, ambient)	aecho=0.8:0.7:90|250:0.25|0.15
tremolo	Amplitude movement (melody, pads)	tremolo=f=3:d=0.3
bandpass	Isolate frequency band (drums, snare)	bandpass=f=1000:width_type=h:w=500
adelay	Place drum hits in time (ms, per-channel)	adelay=500|500

Situational:

Filter	Usage	Example
flanger	Sweeping modulation (leads, synths)	flanger=delay=3:depth=2:speed=0.5
vibrato	Pitch modulation (as filter, not in-expr)	vibrato=f=5:d=0.4
areverse	Reverse audio (FX, risers)	areverse
atempo	Change speed	atempo=0.5 (half speed)

---

Mixing & Exporting

Mix all layers

Use amix with normalize=0 to prevent auto-gain (you control levels via per-layer volume). Always include the vinyl/noise texture layer — it fills gaps between notes.

ffmpeg -y \
  -i melody_full.wav \
  -i bass_full.wav \
  -i drums_full.wav \
  -i pad_full.wav \
  -i vinyl_texture.wav \
  -filter_complex "\
    [0][1][2][3][4]amix=inputs=5:normalize=0,\
    loudnorm=I=-16:TP=-1.5:LRA=11\
  " \
  -ar 44100 -ac 2 mix.wav

Loudnorm targets by genre:

Genre	Integrated (I)	True Peak (TP)	LRA
Ambient	-18	-2.0	11
Lo-fi / Chill	-16	-1.5	11
Electronic	-14	-1.5	9
Techno / EDM	-14	-1.5	9

Export to MP3

ffmpeg -y -i mix.wav -codec:a libmp3lame -b:a 192k -ar 44100 -ac 2 output.mp3

Verify with ffprobe

ffprobe -v error -show_entries format=duration,bit_rate,format_name -show_entries stream=sample_rate,channels,codec_name -of default=noprint_wrappers=1 output.mp3

Expected output should show: codec_name=mp3, sample_rate=44100, channels=2, bit_rate near 192000.

---

Structure & Arrangement

Build sections separately, then concatenate:

Typical structure:

1. Intro (4–8 bars): Pad only, fade in
2. Verse (8–16 bars): Add melody + bass, light drums
3. Breakdown (4 bars): Drop drums, keep pad + melody
4. Build (4 bars): Re-introduce elements, rising energy
5. Chorus (8–16 bars): All layers, full energy
6. Outro (4–8 bars): Strip layers, fade out

Concatenating sections

# Create a file list
echo "file 'intro.wav'" > list.txt
echo "file 'verse.wav'" >> list.txt
echo "file 'chorus.wav'" >> list.txt
echo "file 'outro.wav'" >> list.txt

ffmpeg -y -f concat -safe 0 -i list.txt -c copy full_track.wav

Fade in / fade out

# Fade in first 3 seconds, fade out last 3 seconds of a 60s track
ffmpeg -y -i full_track.wav -af "afade=t=in:d=3,afade=t=out:st=57:d=3" full_track_faded.wav

---

Genre Templates

Lo-fi Hip-Hop

• BPM: 85 | Bar: 2.824s | 4-bar cycle: 11.294s
• Key: A minor
• Progression: Am → Dm → Em → Am (i–iv–v–i)
• Chord Hz:
  • Am: 220.00, 261.63, 329.63
  • Dm: 146.83, 174.61, 220.00
  • Em: 164.81, 196.00, 246.94
• Character: Everything through lowpass (600–1000 Hz), swing feel, half-time snare
• Drums: Use 2-bar pattern for variation. Kick on 1,3 (+ ghost kick on offbeats). Half-time snare (beat 3 only, or 2&4 for standard). Closed hihats on quarters, open hat on "and" of beat 2 for swing accent. Build a 2-bar loop, not 1-bar.
• Bass: Sawtooth harmonics (5 terms), lowpass=f=350, plucky envelope with exp(-1.2*...), volume=0.7
• Melody: Square-wave harmonics with vibrato (freq*(1+0.004*sin(5*2*PI*t))), lowpass=f=1800, tremolo=f=3:d=0.3, sparse (leave rests), volume=0.55
• Pad: Detuned pairs (+0.8Hz), lowpass=f=700, 3-voice chorus, aecho=0.8:0.7:90:0.25, slow LFO (0.6+0.4*sin(0.15*2*PI*t)), volume=0.35
• Texture: Pink noise, lowpass=f=3000,highpass=f=200, volume=0.04

Ambient

• BPM: 65 | Bar: 3.692s | 4-bar cycle: 14.769s
• Key: C major
• Progression: C → Am → F → G (I–vi–IV–V)
• Chord Hz:
  • C: 261.63, 329.63, 392.00
  • Am: 220.00, 261.63, 329.63
  • F: 174.61, 220.00, 261.63
  • G: 196.00, 246.94, 293.66
• Character: Long evolving pads, no drums, sparse melody, heavy reverb/echo, very slow movement
• Pad (main element): Detuned pairs (+0.7Hz per note), 3-voice chorus, aecho=0.8:0.6:120|250:0.3|0.15, lowpass=f=900, very slow LFO (0.08Hz), volume=0.45. Each chord sustains a full bar with 0.2–0.3s crossfade envelopes.
• High pad (shimmer): Same chords at octave 5, more detuned (+1.2Hz), lowpass=f=2000, aecho=0.8:0.5:200|400:0.2|0.1, volume=0.15
• Melody: Very sparse — only 4-5 notes per cycle with long gaps. Octave 5, sine + one harmonic, vibrato (3Hz), long attack (0.1s) / release (0.2s), aecho for tail, volume=0.3
• Sub bass: Pure sine on root notes (octave 1-2), lowpass=f=120, slow swell envelopes, volume=0.3
• No drums. Texture layer at volume=0.03.
• Loudnorm: I=-18 (quieter target)

Electronic / Techno

• BPM: 130 | Bar: 1.846s | 4-bar cycle: 7.385s
• Key: A minor
• Progression: Am → F → C → G (i–VI–III–VII)
• Chord Hz:
  • Am: 220.00, 261.63, 329.63
  • F: 174.61, 220.00, 261.63
  • C: 130.81, 164.81, 196.00
  • G: 196.00, 246.94, 293.66
• Character: Four-on-the-floor, driving, aggressive bass, staccato melody, minimal pad
• Kick: Hard sine sweep (200→45Hz), every beat, lowpass=f=250, volume=1.8. This is the anchor.
• Hihats: Eighth notes, alternating velocity (on-beat 0.4, off-beat 0.3). Open hat on "and" of beat 4.
• Clap: Beats 2 and 4. White noise + pink noise, bandpass=f=1500:width_type=h:w=2000, volume=0.6
• Bass: Sawtooth (6 harmonics), pulsing eighth-note envelope for pumping feel, lowpass=f=400, volume=0.7
• Melody: Staccato stabs (0.15s), square-wave, tight envelopes (5ms attack, 20ms release), bandpass=f=2000, flanger, volume=0.45
• Pad: Minimal dark atmosphere. Detuned pairs, lowpass=f=500, chorus, volume=0.15
• Loudnorm: I=-14 (louder target)

Synthwave / Retro

• BPM: 110 | Bar: 2.182s | 4-bar cycle: 8.727s
• Key: D minor
• D minor scale: D4=293.66, E4=329.63, F4=349.23, G4=392, A4=440, Bb4=466.16, C5=523.25
• Progression: Dm → Bb → C → Dm (i–VI–VII–i)
• Chord Hz:
  • Dm: 293.66, 349.23, 440.00
  • Bb: 233.08, 293.66, 349.23
  • C: 261.63, 329.63, 392.00
• Character: Arpeggiated chords (signature element), soaring lead, driving rhythm, lush pads
• Arpeggio (key layer): 16th notes cycling through chord tones (root, 3rd, 5th, octave). Sawtooth wave (3 harmonics), very short envelope (3ms attack, exp(-12*...)). Use between(mod(t,beat),...) to cycle 4 notes per beat. Build each bar separately (one per chord), then concat. Apply: bandpass=f=1500:width_type=h:w=2000, chorus, volume=0.4
• Bass: Sawtooth (6 harmonics), driving eighth notes, lowpass=f=300, volume=0.7
• Drums: Four-on-the-floor kick, snare on 2&4, eighth-note hihats
• Pad: Detuned chord pairs, slow LFO, 3-voice chorus, lowpass=f=800, volume=0.25
• Lead melody: Soaring saw-wave (5 harmonics) with vibrato (5Hz), longer notes (quarter), lowpass=f=3500, volume=0.35

---

Complete Workflow Checklist

1. Choose genre & check tools — Pick a template or define custom BPM, key, progression. Run which sox — if available, prefer SoX synth for tones (native waveforms). ffmpeg is always required for mixing/export.
2. Calculate timing — Compute beat/bar durations from BPM (exact decimals, don't round)
3. Create temp directory — TMPDIR=$(mktemp -d)
4. Define chord progression — Map chords to Hz values using the reference tables
5. Build drum samples — Generate layered hits: kick (sweep + sub), snare (tone + noise), hihat (shaped noise). Never single-source.
6. Assemble drum bar — Place hits with adelay, mix with amix=normalize=0,apad=whole_dur=BAR. Build 2-bar patterns for variation.
7. Build bass pattern — Sawtooth harmonics (5–6 terms) on chord roots, lowpass, plucky envelope
8. Build melody pattern — Square-wave harmonics + vibrato, per-note envelopes (15ms attack, 40ms release), leave rests
9. Build pad — Detuned pairs (+0.7–1.2Hz offset), slow LFO, chorus + aecho + lowpass — effects are mandatory
10. Build texture — Pink noise, bandpassed, volume=0.03–0.05
11. Test each layer independently — Play them back before mixing. Fix silence or clicking first.
12. Loop layers — Use -stream_loop to extend each layer to target duration
13. Mix with arrangement — Use adelay to stagger layer entries (pad first, then melody+bass, then drums). Use afade on individual layers for gradual intros. Don't start everything at once.
14. Add fades — afade=t=in:d=N at start, afade=t=out:st=X:d=N at end
15. Mix to stereo WAV — amix with normalize=0, then loudnorm with genre-appropriate target
16. Export MP3 — libmp3lame -b:a 192k -ar 44100 -ac 2
17. Verify — ffprobe to check duration, bitrate, format, channels
18. Clean up — rm -rf "$TMPDIR"

---

Troubleshooting

Clipping / distortion:

• Sum of all sine waves exceeds [-1, 1]. Divide by number of layers: (sin(f1*...) + sin(f2*...)) / 2
• Reduce per-layer volume values. Typical mix: melody=0.5, bass=0.7, drums=0.7, pad=0.3

Silence in output:

• Check aevalsrc expression for syntax errors — ffmpeg silently produces silence on invalid expressions
• Test each layer independently before mixing
• Ensure between() ranges don't have gaps

Clicks / pops at note boundaries:

• Add per-note envelopes: min(elapsed/0.01, 1) * min(remaining/0.01, 1)
• Never let notes overlap without crossfade

Timing drift:

• Use exact decimal values, not rounded. At 120 BPM: beat = 0.5s exactly
• Ensure mod(t, bar_duration) matches the actual bar duration precisely

File too large:

• WAV files are uncompressed (~10 MB/min at 44100 Hz stereo 16-bit). This is expected for intermediates.
• Final MP3 at 192 kbps should be ~1.4 MB/min

Expression syntax errors:

• No spaces around operators in aevalsrc expressions (spaces can cause parsing issues)
• Escape special characters if running in shell: single-quote the entire expression
• Use \ for line continuation in bash, but keep the expression itself on logical lines
• If between() doesn't work, try gte(x,lo)*lt(x,hi) as equivalent

amix changes volume unexpectedly:

• Always use normalize=0 to disable amix's automatic normalization
• Control volume manually with the volume filter on each input

amix truncates drum bars (bar too short):

• amix output duration = longest input stream, not longest delayed position
• Last hit at 2118ms + 300ms sample = 2418ms, but your bar is 2824ms → truncated
• Fix: append apad=whole_dur=BAR_DURATION after amix in the filter chain
• Example: amix=inputs=8:normalize=0,apad=whole_dur=2.824

Track sounds like a test tone / bare sine wave:

• You're using raw sin(f*2*PI*t) — this always sounds clinical
• Use sawtooth (5+ harmonics) or square (4+ odd harmonics) approximations instead
• Add effects: lowpass (warmth), chorus (width), tremolo/vibrato (movement)
• Add detuning for pads (+0.7–1.2Hz offset per note)
• Include a pink noise texture layer at volume=0.04

All layers start at once (wall of sound):

• Use adelay on individual layers in the final mix to stagger entries
• Example: pad at 0s, melody at 11s, bass at 11s, drums at 22s
• Apply afade=t=in per-layer at the entry point for gradual intros

Mono output when stereo expected:

• Add -ac 2 to the final export command
• aevalsrc produces mono by default — this is fine for intermediates, -ac 2 on export converts to stereo