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hyperframes-audio

Use when audio already placed in a HyperFrames composition needs to be mixed: fade-in/fade-out, crossfade, track gain or volume, volume automation, ducking, a music bed that fights a voiceover (voiceover carve), effects on a track (EQ, compressor, limiter, gate, saturation, delay, reverb, chorus, phaser, bitcrush), automation envelopes drawn on a track's volume or any effect parameter, or one submix bus carrying a chain, a fader and an automation clock for several tracks at once (`<hf-audio-group>`). Don't use for sourcing or generating audio — finding BGM, SFX, or making a voiceover is `/media-use`. Don't use for clip timing or track layout, which is `/hyperframes-core`.

OpenClaw

View on ClawHub Homepage

Rank

Safety

Downloads

1.2k

Updated

Oct 10, 2026

Version

1.0.15

Source

CLAWHUB

About

What it does, and when to use it.

Capability contract not published. No trust telemetry is available yet. 1.2K downloads reported by the source. Last updated 10/10/2026.

Avoid when

Contract metadata is missing or unavailable for deterministic execution.

Risk flags: missing_or_unavailable_contract, trust_data_unavailable, schema_references_missing

Public facts

Every fact links back to the source it came from.

Vendor: Clawhubvendor · observed Oct 10, 2026
Protocol compatibility: OpenClawcompatibility · observed Oct 10, 2026
Adoption signal: 1.2K downloadsadoption · observed Oct 10, 2026
Latest release: 1.0.15release · observed Oct 10, 2026
Handshake status: UNKNOWNsecurity

Install and run

Setup complexity: low.

clawhub skill install s17fpgb0p797dzkbtbrxw5x1hh89qs64:hyperframes-audio

Install using `clawhub skill install s17fpgb0p797dzkbtbrxw5x1hh89qs64:hyperframes-audio` in an isolated environment before connecting it to live workloads.
No published capability contract is available yet, so validate auth and request/response behavior manually.
Review the upstream CLAWHUB listing at https://clawhub.ai/heygen-com/hyperframes-audio before using production credentials.

Contract: missing

curl -s "https://www.xpersona.co/api/v1/agents/clawhub-heygen-com-hyperframes-audio/snapshot"

Documentation

CLAWHUB

146,002 characters of source documentation, loaded on request.

Extracted files

5 files captured from the source.

SKILL.md

---
name: hyperframes-audio
description: >
Use when audio already placed in a HyperFrames composition needs to be mixed:
fade-in/fade-out, crossfade, track gain or volume, volume automation, ducking,
a music bed that fights a voiceover (voiceover carve), effects on a track
(EQ, compressor, limiter, gate, saturation, delay, reverb, chorus, phaser,
bitcrush), automation envelopes drawn on a track's volume or any effect
parameter, or one submix bus carrying a chain, a fader and an automation clock
for several tracks at once (`<hf-audio-group>`).
Don't use for sourcing or generating audio — finding BGM, SFX, or making a
voiceover is `/media-use`. Don't use for clip timing or track layout, which is
`/hyperframes-core`.
---

**Plugin installs:** Before setup or freshness commands, follow [plugin execution rules](../hyperframes/references/plugin-installation.md) when this skill is inside a HyperFrames plugin. Standalone installs keep the update instructions below.

# HyperFrames Audio

A mix is a set of relationships, not a stack of processors. Two tracks that each
sound right alone can be unlistenable together, and the fix is almost never "turn
one down" — it is finding what they are fighting over and giving it to whichever
one needs it. Every tool here exists to express one of those relationships.

Effects live on the element as `data-fx-chain`, and preview and render run the
same Web Audio graph — the studio in a live context, the engine in an offline one
inside the browser it already drives. There is one implementation of each effect,
so what you hear while scrubbing is what gets written. You never tune twice.

Clip timing remains `/hyperframes-core`: audio/video trims and source ranges use
`data-start`, `data-duration`, and `data-media-start`, and crossfades overlap
clips on different tracks. This skill owns placed-track fade-in/fade-out,
crossfade envelopes, track gain/track volume, volume and effect automation,
ducking/voiceover carve, and the effect chain. `/media-use` owns sourcing,
generation, and preprocessing.

Constant `data-playback-rate` (`0.1..10`) is render-safe for picture and
pitch-preserved sound when matching audio/video elements use the same timing,
source offset, and rate. A speed ramp is a `rate` lane in `data-automation`
(see `docs/reference/speed-ramps`); it wins over the constant and keeps pitch
in preview and render. HyperFrames does not
provide automatic waveform sync or drift correction.
For copyable cut/crossfade/retime recipes, use `/hyperframes-core` → `references/creator-editing-recipes.md`.

Three attributes carry everything, on the audio/video element itself — or, for
the first two, on an `<hf-audio-group>` bus (see "One bus for many tracks"):

| Attribute | Holds |
| ----------------- | --------------------------------------------------------- |
| `data-fx-chain` | the effects, in signal order |
| `data-auto

_meta.json

{
  "ownerId": "kn77d06grj6xqp3dqwkk4bavhn89pegt",
  "slug": "hyperframes-audio",
  "version": "1.0.15",
  "publishedAt": 1791657895961
}

references/attributes.md

# The three audio attributes

All three go on the `<audio>` / `<video>` element itself, JSON-encoded, so a
composition carries its whole mix in the HTML with nothing to load beside it.
`data-fx-chain` and `data-automation` also go on an `<hf-audio-group>` bus,
where they mean the same thing over the summed members — with one difference
worth knowing: a group's automation runs on COMPOSITION time, since a bus has no
`data-start` of its own. `data-fx-carve` is clip-only; a bus has no carve.
Nothing static validates them: preview plays an unreadable chain dry to stay
workable, and the render refuses the whole mix rather than shipping a dry track
that sounds plausible and is wrong.

## `data-fx-chain` — the effects

```json
{
  "version": 1,
  "nodes": [
    {
      "type": "highpass",
      "id": "n1",
      "label": "Remove Rumble",
      "params": { "frequency": 120, "q": 0.707, "poles": "2" }
    },
    {
      "type": "peaking",
      "id": "n2",
      "fromCarve": true,
      "params": { "frequency": 1600, "gain": -6, "q": 1.4 }
    },
    {
      "type": "limiter",
      "id": "n3",
      "enabled": false,
      "params": { "limit": -1, "attack": 5, "release": 50, "level_out": 0 }
    }
  ]
}
```

**Write these attributes double-quoted, with the JSON's own quotes as `&quot;`.**
The browser reads them through `getAttribute` and does not care, but
`scripts/carve.mjs` finds them with a `name="..."` regex, so a single-quoted
attribute is invisible to it — the carve reports no existing chain and quietly
overwrites work it could not see. `&` becomes `&amp;`; nothing else needs
escaping.

- **Order is signal order.** Each node processes what the one before produced.
- `type` is an effect id from the registry. `params` are in the units a person
  thinks in — dB, ms, Hz — and out-of-range values are clamped on read, so a
  chain that parses is always safe to realise.
- `id` is a stable handle. Automation addresses nodes by id, never by position,
  so reordering the chain cannot re-point a lane at a different effect. A node
  with no id loads fine but cannot be automated. Writing a chain by hand, any
  unique string works; Studio hands out the first free `n1`, `n2`, … so matching
  that convention keeps a hand-written chain and an edited one looking alike.
- `label` is what the rack calls this node, replacing the effect's own name.
  Write one whenever the node is doing a named job — a chain with two `peaking`
  nodes otherwise shows the same row twice and the author cannot tell which is
  the mud cut and which is the clarity lift. Presets and jobs always set it; a
  hand-written node should too. See `presets.md` for the names they use.
- `enabled: false` is bypass — the node stays in the chain, out of the signal
  path. Absent means enabled.
- `fromCarve: true` marks a node the carve analysis generated. Re-running the
  carve replaces exactly these and leaves hand-built effects alone. **Do not set
  it by hand**: a node tagged this way will be deleted

references/diagnosis.md

# Diagnosing audio you cannot hear

The symptom table in `SKILL.md` starts from "it sounds boomy". That presumes
somebody already listened and said so. Handed a file and "fix this", you have
no such sentence — and you cannot listen. This is how to get one.

It is worth being blunt about the difficulty first, because the failure mode is
not "no answer", it is **a confident wrong answer**:

> **The absolute spectrum of a single unknown voice cannot be diagnosed.**

Every voice has peaks and dips of exactly the size an injected filter has.
Formants are ±10 dB. A speaker's fundamental sits anywhere from 85 to 255 Hz.
Sentences decline 5–6 dB from start to end as a matter of ordinary prosody. Look
at one spectrum on its own and you will find "defects" in all of it, and the
ones you find will be the speaker.

So diagnosis is always **comparison**. The whole method is choosing the right
thing to compare against.

---

## Compare against something inside the same file

Ranked by how much they can tell you. Prefer the highest one available.

### 1. The clean original, if it exists

If the undamaged take is on disk, this is the whole job — measure both, subtract,
and the difference _is_ the defect. Nothing below is as good. Look for it before
anything else.

### 2. The pauses

The strongest reference that lives inside a single file. Speech stops; whatever
is still there in the gap is not the voice.

**What it answers: "was something added?"**

Anything audible in the pauses is additive — hum, rumble, hiss, room tone. It was
laid on top, so it can be subtracted, and this is a reliable positive finding.

**What it does NOT answer: "was something filtered?"** — and getting this
backwards is how the method produces a confident wrong answer.

A filter multiplies. Applied to a file whose gaps already sit at the
quantisation floor, it leaves them at the quantisation floor: near-silence times
anything is still near-silence. So the pause carries no trace of it. Measured on
one take with a −9 dB shelf above 2.5 kHz applied to the whole file:

|                   | 1 kHz | 5 kHz | tilt      |
| ----------------- | ----- | ----- | --------- |
| pause, undamaged  | −91.0 | −91.0 | +0.0      |
| pause, shelved    | −91.0 | −91.0 | **+0.0**  |
| speech, undamaged | −34.7 | −42.8 | −8.1      |
| speech, shelved   | −35.4 | −48.5 | **−13.1** |

The defect is a clear 5 dB in the speech and **exactly zero** in the pause.

So: **never use a null result from the pause spectrum to rule out EQ.** A run
that did exactly that — measured the pause, found it smooth, and concluded
"static EQ of any type or Q is ruled out" — went on to treat an inaudible
−72 dBFS rumble as the defect and shipped a high-pass for a file whose actual
problem was that it had no top end.

The pause spectrum _is_ a transfer function only when the gaps carry a real
recorded noise floor that passed through the same filter. A room-tone bed does;
a digitally clean take does not. Check which you have before trus

references/fx-registry.md

# Effect registry

Every effect, its parameters and the usable range of each. Values outside a range
are clamped on read, so anything that parses is safe to realise. **AUTO** marks a
parameter an automation lane can drive; anything unmarked cannot move over time
(see the note at the bottom).

Generated from `HF_AUDIO_FX` in `@hyperframes/core/audio-fx`, which is the source
of truth — if this table and the code disagree, the code is right.

## Filter — which frequencies a track may occupy

| Effect      | Parameter                                                                                                   |
| ----------- | ----------------------------------------------------------------------------------------------------------- |
| `highpass`  | `frequency` 20–20000 Hz (300, log) **AUTO** · `q` 0.1–20 (0.707, log) **AUTO** · `poles` `1`\|`2` (2)       |
| `lowpass`   | `frequency` 100–20000 Hz (8000, log) **AUTO** · `q` 0.1–20 (0.707, log) **AUTO** · `poles` `1`\|`2` (2)     |
| `peaking`   | `frequency` 20–20000 Hz (1000, log) **AUTO** · `gain` −40–40 dB (0) **AUTO** · `q` 0.1–20 (1, log) **AUTO** |
| `lowshelf`  | `frequency` 20–2000 Hz (200, log) **AUTO** · `gain` −40–40 dB (0) **AUTO**                                  |
| `highshelf` | `frequency` 500–20000 Hz (4000, log) **AUTO** · `gain` −40–40 dB (0) **AUTO**                               |

`q` is bandwidth — higher is narrower. `poles` is the slope: `2` is the usual
biquad (12 dB/oct), `1` is gentler (6 dB/oct). Shelving filters have no `q`: the
Web Audio spec leaves it unused for them, so a control would have moved nothing.

## Dynamics — how level behaves over time

| Effect       | Parameter                                                                                                                                                                      |
| ------------ | ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ |
| `gain`       | `gain` −60–12 dB (0) **AUTO**                                                                                                                                                  |
| `compressor` | `threshold` −60–0 dB (−24) · `ratio` 1–20 (4) · `attack` 0.01–2000 ms (20, log) · `release` 0.01–9000 ms (250, log) · `knee` 1–8 (2.83) · `makeup` 0–36 dB (0) · `mix` 0–1 (1) |
| `limiter`    | `limit` −24–0 dB (−1) · `attack` 0.1–80 ms (5) · `release` 1–8000 ms (50, log) · `level_out` −24–24 dB (0)                                                                     |
| `truepeak`   | `ceiling` −24–0 dBTP (−1) · `lookahead` 0.5–10 ms (3) · `release` 10–2000 ms (80, log)                                                                                         |
| `gate`       | `threshold` −80–0 dB (−35) · `range` −80–0 dB (−24) · `ratio` 1–20 (10) · `attack` 0.01–9000 ms (1, log) · `release` 0.01–9000 ms (100, log) · `knee` 1–8 (2.8

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