SPEC.md1--- 2title: MINIMAX WAS RIGHT THERE 3theme: jev 4status: made 5song: song.js 6measured: 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7critic: 8 date: 2026-09-26 9 model: jev-1.13.0 10 method: rubric-1 11 art: 0.65 12 artRuns: [0.66, 0.65, 0.65] 13 criteria: 14 hook: 3.3 15 development: 3.5 16 structure: 3.3 17 concept: 3.8 18 originality: 3.5 19 craft: 2.2 20ideas: 21 - date: 2026-09-24 22 model: claude-opus-5-5 23 harness: claude-code 24 prompt: "Research Jev's real use cases; jab at people using Jev where deterministic code would do better, such as game bots." 25 brief: "Chiptune jungle roasting game bots built on Jev. Hook: the Mario Kart blue-shell sound, then \"Oh no no no\" as the Jev kart falls off Rainbow Road. Vocoder verses: \"you paid by the billion to press right-jump\", \"tic-tac-toe was solved before you were born\", \"a PID loop takes the racing line\". Before the drop, the Pong beep slows down, one beep per 227 ms decision. Drops instrumental, a proper ending." 26revisions: 27 - rev: 1 28 date: 2026-09-24 29 model: claude-opus-5-5 30 harness: claude-code 31 prompt: "Chiptune jungle roasting game bots built on Jev. Hook: the Mario Kart blue-shell sound, then \"Oh no no no\" as the Jev kart falls off Rainbow Road. Vocoder verses: \"you paid by the billion to press right-jump\", \"tic-tac-toe was solved before you were born\", \"a PID loop takes the racing line\". Before the drop, the Pong beep slows down, one beep per 227 ms decision. Drops instrumental, a proper ending." 32 output: null # overwritten by rev 2 33 art: 0.6 34 artRuns: [0.6, 0.6, 0.6] 35 - rev: 2 36 date: 2026-09-24 37 model: claude-opus-5-5 38 harness: claude-code 39 prompt: "Let Jev arrange the song as it plays. Name each 4-bar section and the sections allowed to follow it, keeping the 8-bar chord cycle intact; at each section Jev picks the next section, the move to play it with (as written, no drums, the chiptune alone, the breakbeat alone), and how intense it is, and ends the song by choosing the outro and its game-over blip, with a hard cap of 24 sections. Tell Jev the tempo, key, chords, lyrics and everything played so far, and how the listener reacted. Without Jev it plays as written." 40 output: null # overwritten by rev 3 41 art: 0.63 42 artRuns: [0.64, 0.63, 0.63] 43 - rev: 3 44 date: 2026-09-25 45 model: claude-opus-5-5 46 harness: claude-code 47 prompt: "Fix the mix and the hook. Bring the drums under the voices and add a master level so the song peaks under -1 dBFS; give the drops their own riff, a chip lead with Pong answering it, a new amen chop at the break's own groove, a jungle kick that varies every fourth bar and a new reese rhythm, with drop 2 lifting on the lead an octave up in harmony and the reese opening further. Land both drops and the ending on A minor. Make the Pong beeps audibly slow to one per 227 ms under a ducked blue shell, and put the kart fall after \"oh no\". Make the robot sing \"Jev\" and \"a PID loop\" clearly. The blue shell, \"oh no\", the fall and both title lines always play; verse 2 always plays before drop 2; transitions never cover a sung line or a build's ending." 48 output: null # overwritten by rev 4 49 art: 0.65 50 artRuns: [0.65, 0.65, 0.64] 51 - rev: 4 52 date: 2026-09-26 53 model: claude-opus-5-5 54 harness: claude-code 55 prompt: "Keep Jev from looping drop 2: each of its loops may go round once more at most (drop2b and drop2c play at most twice), so no run of drop sections passes 24 bars. Drop the detour from drop2d back to drop1, which could never end within the cap." 56 output: song.js 57 art: 0.65 58 artRuns: [0.66, 0.65, 0.65] 59--- 60 61# MINIMAX WAS RIGHT THERE — spec 62 63`song.js` is generated from this spec. Change the spec first, then the song. 64 65## Intent 66 67A roast of people who wire Jev into game bots, where deterministic code 68would do better. Jev is TypeSafe AI's typed-decision model: fast, calibrated 69Choice / Score / Noul judgments for things like ticket routing, jailbreak 70monitoring and command gating. The real projects being poked at: 71`fhshaik/typesafe-mario` (a Jev agent playing Super Mario Bros. from 72emulator state), `ably-labs/jev-pong` (the ball moves one step per model 73decision; its README measures Jev at 227 ms a decision), and 74`robwent/jev-tic-tac-toe` (Jev playing noughts and crosses, every move 75checked against a perfect minimax solver). All three read on GitHub on 762026-09-25. No Jev 77Mario Kart bot was found; the Mario Kart jokes are hypothetical. 78 79## Style 80 81- Chiptune jungle, 170 bpm, A minor: Am – F – C – G, two bars per chord, so 82 each vocoded line sits on one chord. 83- Square/pulse leads and arpeggios, triangle bass, Pong-style square blips; 84 bit-crushed amen break under a jungle two-step kick and 2-and-4 snare; 85 a reese bass in the drops. 86- The drops have their own riff and groove, distinct from HEY! LISTEN!'s: 87 the chip lead calls in the first half of each bar and a Pong blip answers 88 it in the second, ping to pong across the stereo field; the amen plays at 89 its own groove (eight slices a bar, each choked by the next) in a chop 90 order of its own that rolls in the fourth bar; the jungle kick varies 91 every fourth bar; the reese has its own rhythm. 92- Structured: patterns vary by section, never by chance. 93- No sustained background pad. 94- **Levels.** The drums sit under the voices, and a master level 95 (`postgain`) keeps the measured peak at or under −1 dBFS: superdough has 96 no limiter. The vocoded lines are loudness-normalised alike (−16 LUFS, 97 −2 dBTP) and play at gain 1, so the title line is not the quietest. The 98 crash is `hh27:1`, a real crash (`cr` is a ride). 99 100## Structure 101 10264 bars (~1:30). Plays once from bar 1 and ends; never loops. 103 104| Bars | Section | Contents | 105|---|---|---| 106| 1–8 | Intro | Chip arpeggio alone; Pong blips answer it from bar 5 | 107| 9–16 | Verse 1 | Vocoder lines 1–4, one per 2 bars; half-speed beat, triangle bass | 108| 17–20 | Build 1 | Blue shell warning from bar 17, ducked under Pong blips that slow down across bars 17–18 and arrive at one per 227 ms; the hit on bar 19 at full, its tail cut before "oh no no no"; the fall comes after "oh no", from bar 20, its tail ringing into the last beat | 109| 21–32 | Drop 1 | Instrumental, landing on Am: jungle kick, crushed amen, reese bass, chip lead answered by Pong; crash on 21 | 110| 33–40 | Verse 2 | Vocoder lines 5–8 over the half-speed beat | 111| 41–44 | Build 2 | As build 1 | 112| 45–60 | Drop 2 | Instrumental, landing on Am: drop 1 plus 16th hats and a double-time arp; its audible change is the lead an octave up with a third-above harmony, and the reese filter opening further; crash on 45 | 113| 61–64 | Outro | Resolves to Am: drums out except one last hit on 61, a sine A under it; an A minor arp fades; a final low Pong blip on A on 64 | 114 115Verse 2 starts on bar 33 so it lines up with the 8-bar chord cycle, which is 116why drop 1 is 12 bars and drop 2 is 16. The drops play the chord cycle four 117bars on (Am F C G from their first bar), so each lands on the tonic; the 118builds end on F, so every drop arrives F to Am. 119 120## Vocals 121 122Vocals appear only in the verses and builds. Drops, intro and outro are 123instrumental. 124 125- **Vocoder** (speech synthesized, then vocoded onto the song's chords, one 126 line per 2 bars, so the robot sings in key): 127 1. "You paid by the billion to press right jump" — Am 128 2. "Tic tac toe was solved before you were born" — F 129 3. "A PID loop takes the racing line" — C 130 4. "Minimax was right there" — G 131 5. "Two hundred twenty seven milliseconds a move" — Am 132 6. "Jev is for judgment, not for joysticks" — F 133 7. "Route the ticket. Gate the sudo." — C 134 8. "Minimax was right there" — G 135- **Pronunciation.** Plain SAPI text says "Jev" well, but the vocoder turns 136 its voiced v into "Jeb" or "Jeff" (whisper small.en and medium.en both, 137 with or without an IPA phoneme; other songs' vocoded "Jev" read the 138 same), and "A P I D" runs together into "APID". So in line 6 the robot 139 says its own name in the plain voice: "Jev is" is rendered from SSML with 140 the IPA phoneme `dʒɛv` and mixed in dry over the vocoder, which ducks 141 under it, and the chord sings the rest. Line 3 is "a", a pause, then 142 "PID", so the article cannot fuse with the letters. What whisper hears in 143 each is recorded in `samples/README.md`. 144- **Memes** (real clips): the Mario Kart Wii blue shell warning and hit; 145 "oh no no no" (the laugh version) as the kart falls; the "fall off cliff" 146 Mario Kart sound. 147 148## Jev in the booth 149 150Jev arranges the song as it plays, as two jevs declared at the top in 151TypeSafe's own shape (`jev({ state, questions })`, `website/src/jev/`), both 152given the song as state (subject, tempo, key, chords, lyrics): 153 154- **`formJev`** asks one choice: which **section** plays next, among the 155 song's sixteen 4-bar sections. 156- **`djJev`** asks, once that is decided, a **level** for each part (arpeggio, chip lead, Pong, drums, bass, the vocoded verse lines: 157 out, back or full in this section), how the song moves **into** it, and a 158 score for the section's **energy**. 159 Questions in one request cannot see each other's answers, so it is a 160 second request, told the section just chosen (`after: { section }`). 161 162The hook always plays: the builds' blue shell, "oh no no no" and the fall, 163and both "Minimax was right there" lines. The energy and a dropout's gap 164reach it; no part level does, so Jev cannot silence the title or the gag. 165Jev's **vocals** level governs only the other vocoded verse lines. 166 167Both are asked every 4 bars (`.every(4, …)`), and the answers are 168composed in ordinary Strudel at the bottom: `walk` holds the form's rules, 169each part plays at its level, the transition plays over the last bar 170before the section, and `energy.score` scales the velocity. 171 172**The form.** A section may be followed only by these: 173 174| Section | Bars as written | May be followed by | Plays at most | 175|---|---|---|---| 176| `intro` | 1–4 | introB | | 177| `introB` | 5–8 | verse1 | | 178| `verse1` | 9–12 | verse1b | | 179| `verse1b` | 13–16 | build1 | | 180| `build1` | 17–20 | drop1 | | 181| `drop1` | 21–24 | drop1b | | 182| `drop1b` | 25–28 | drop1c | | 183| `drop1c` | 29–32 | verse2, verse1 | | 184| `verse2` | 33–36 | verse2b | | 185| `verse2b` | 37–40 | build2, build1 | | 186| `build2` | 41–44 | drop2 | | 187| `drop2` | 45–48 | drop2b | | 188| `drop2b` | 49–52 | drop2c | twice | 189| `drop2c` | 53–56 | drop2d, drop2b | twice | 190| `drop2d` | 57–60 | outro, drop2c | | 191| `outro` | 61–64 | (the end) | | 192 193**Loops end.** Uncapped, the ways back let Jev repeat a drop until the cap: up to 48 bars of it in a row. So drop2b and drop2c, where drop 2's loops return, each play at most twice (`times` in `walk`, which counts every play: a loop is a cycle of different sections, and none of them repeats back to back), and each loop goes round once more at most. The longest run of a drop any path can now take is 24 bars. Every detour can still play, the written order is never capped, and a section that has played its most is not offered, nor is one that could only reach the ending through one. 194 195The detour from drop2d back to drop1 is gone: from drop2d, the shortest way on through drop1 (drop 1 again, verse 2, build 2 and drop 2) could never end within the cap of 24 sections, so Jev was never offered it. `walk` now refuses a way on that can never be taken. 196 197Sections are 4 bars because the builds and the outro are. The chords turn 198over every 8 bars (Am F | C G), so every section may only be followed by 199one that starts on the other half of the turn, except where a drop begins 200or ends: the drops are phased four bars on to land on Am, so a build (Am F) 201goes into a drop's Am, and drop 1's last section (Am F) into a verse's Am. 202Builds lead only into their drop, so the blue shell always lands on it. 203Verse 2 always plays before drop 2: build2 follows only verse2b, and drop 1 204goes back to a verse, so the thesis line "Jev is for judgment, not for 205joysticks" is never skipped and the two builds are never 12 bars apart. These rules are code 206(`walk`), not Jev: each request offers Jev only the sections allowed next. 207The written order is always allowed, and it is what plays when Jev can't be reached. The song ends 208when Jev picks the outro, whose last hit and game-over blip always close 209it. The cap is 24 sections (about 2:15), not 16: at 4 bars a section the 210song as written is already 16. 211 212**The parts.** Each question says what the part is and where it plays as 213written: the arpeggio (the square-wave chords, double-time in drop 2), the chip lead (the drops' melody, an octave up in harmony in drop 2), Pong (the intro's answering blips, the drops' answers to the lead, and the builds' blips slowing to one per 227 ms decision), the drums (the verses' half-speed beat, the drops' jungle kick, 808, crushed amen and landing crash), the bass (triangle in the verses, reese and sine sub in the drops), and the vocoded verse lines. Jev sets each one's level: **out** (silent for the section), **back** 214(under the rest of the mix) or **full** (as written), so it can drop parts 215to build tension, pull them back to make space, and bring them in full for 216the payoff. The answer is Jev's probability-weighted score: under 0.5 the 217part is silent, and above it the part's velocity is scaled by the score 218(half at back, whole at full). Each part plays on its own orbit, named for 219its question (`orbit('arps')`, …), so the meter hears it alone. A part 220keeps its own masks, so the voices appear only where the structure table puts them. 221The hook and the ending (the last hit and the game-over blip) always play. When Jev can't be reached, every part plays in full. 222 223**The transitions.** Jev also picks how the song moves into each section, 224played over the last bar of the section before it, with the next 225section's answer (`.early(1)`): a **cut** (straight in), a **fill** (a crushed amen fill, the break chopped into rolls down into the first beat), 226a **riser** (a square-wave sweep climbing A minor from A2 to A5, like a power-up), or a **dropout** (everything stops for the last beat, a gap the last word rings into). The outro keeps its last beat, and without an answer it is a cut. 227The rules are code (`intoAllowed`, passed as `allow: { into }`), so Jev is 228offered only what fits: 229 230- A build always ends as written, so only a cut or a dropout into a drop. 231- A fill goes into a verse or a build, never out of a build. 232- A riser goes into a build or a drop, never out of a build. 233- A dropout goes into a drop or the outro. 234- A fill or riser never starts under a sung line: out of a verse it waits 235 for the last half-bar, after the line has ended. 236- A fill replaces the written break (the amen is off in that bar) and 237 follows the drums level; the riser follows the arpeggio's. 238 239The move is sampled from Jev's probabilities at temperature 1. 240 241**A little chance.** The section is sampled from Jev's 242probabilities at temperature 0.7 (`sample`), so two plays of the song can 243take different paths; the strip shows Jev's top pick beside the one 244sampled. A close call between 245sections is where sampling matters most, so there is no confidence 246threshold: an unsure Jev still picks, and the written order plays only 247when Jev can't be reached. 248 249**Energy** is a four-step ladder, from held back (quieter) to all out. It scales 250every part's velocity together (0.55 to 1), on top of the part levels, so the mix keeps its balance. 251 252- Bars 1–4 always play as written. 253- Each request tells Jev the song's state (subject, tempo, key, chords, 254 lyrics), everything played so far, how loud each finished section 255 measured in the browser, which sections may come next and how many are 256 left before the cap, and the 🔥/😴 reactions from the listener's tab. 257- A section plays its own bars, so a repeated verse sings the same lines 258 and a repeated build replays the blue shell. 259- This relaxes the constraints below that the song plays once in a fixed 260 order and never varies by chance: the arrangement varies with Jev's 261 choices, which are judgments, with a little sampled chance in the form. 262 263## Constraints 264 265- Samples from `samples/` via `samples('jev-samples/strudel.json')`; drums from 266 `github:tidalcycles/dirt-samples`; synths are built in. 267- Sections are absolute-cycle masks, so playback must start from stopped.