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Design decisions for when and what sounds to use in web apps, mobile apps, and desktop native apps — plus how to create them with AI. Covers UI sound vocabulary (confirms, alerts, transitions, errors), platform conventions (iOS, macOS, Material), creating sounds with AI tools (ElevenLabs, AudioCraft, Stable Audio), Web Audio API for procedural sounds, haptic-audio pairing, and the psychology of satisfying vs. annoying UI sounds. Activate on 'app sounds', 'UI sounds', 'notification sound', 'sound design app', 'earcons', 'sonic branding', 'interaction sounds', 'feedback sounds', 'app audio', 'satisfying sounds'. NOT for professional audio engineering (use sound-engineer), Windows 3.1 retro sounds specifically (use win31-audio-design), music composition (use sound-engineer).

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Design decisions for when and what sounds to use in web apps, mobile apps, and desktop native apps — plus how to create them with AI. Covers UI sound vocabulary (confirms, alerts, transitions, errors), platform conventions (iOS, macOS, Material), creating sounds with AI tools (ElevenLabs, AudioCraft, Stable Audio), Web Audio API for procedural sounds, haptic-audio pairing, and the psychology of satisfying vs. annoying UI sounds. Activate on 'app sounds', 'UI sounds', 'notification sound', 'sound design app', 'earcons', 'sonic branding', 'interaction sounds', 'feedback sounds', 'app audio', 'satisfying sounds'. NOT for professional audio engineering (use sound-engineer), Windows 3.1 retro sounds specifically (use win31-audio-design), music composition (use sound-engineer).

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Locate CBaseEntity_EmitSoundFilter_SoundName in CS2 server.dll / libserver.so via IDA Pro MCP and emit a fresh, minimal-unique signature or offset for the local gamedata entry "CBaseEntity_EmitSoundFilter_SoundName" (symbol CBaseEntity_EmitSoundFilter_SoundName). The gamedata consumer stores a BYTE SIGNATURE for this entry - ALWAYS emit the func schema (func_sig), never vfunc fields. The function may be virtual; locating it via the owning class vtable (RTTI) is a fine strategy, but once found, read its head bytes and emit func_sig. Locate via cross-references, distinctive constants/strings, callers of related symbols, or vtable slots; verify by decompilation before committing. Trigger: CBaseEntity_EmitSoundFilter_SoundName, CBaseEntity_EmitSoundFilter_SoundName

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Generate sound effects and ambient audio from written descriptions using ElevenLabs. Create cinematic impacts, app notification sounds, or background textures, with controls for duration, seamless looping, and how closely the sound follows the description.

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• Create impact sounds for videos
• Generate looping rain or forest ambience
• Make notification sounds for apps

Build premium, realistic soundtracks for code-made videos and animations from real licensed recordings - launch films, product and feature videos, UI walkthroughs, logo stings, explainers, trailers and animated shorts made with Remotion, HyperFrames, three.js, GSAP or any renderer. Use this whenever a video or animation needs sound design, SFX, foley, ambience, music, a soundtrack, a score, UI click / whoosh / riser / impact / logo-sting sounds, or a music edit to picture; whenever a synthesized or "random" sounding soundtrack must be replaced with real recordings; or when the user asks to source, license, credit, mix, master, critique or mux audio for a film. It covers cue lists from the picture, sourcing from Freesound / Mixkit / composer libraries with licence checks, a music edit at bar lines, a JSON sound design rendered by a deterministic mixer, measured QA (clicks, masking, harshness, sync, loudness) plus earshot listening, a multi-agent critique, mastering, credits and the mux.

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The new frontier of audio: AI-generated music with Suno and Udio, AI sound effects with ElevenLabs, AI voice cloning, and AI audio enhancement. This skill covers the full spectrum of neural audio synthesis and manipulation. We're in an era where a single person can produce broadcast-quality audio content that would have required studios, musicians, and engineers. AI doesn't replace musical talent—it democratizes production capability. Original compositions in minutes. Custom sound design in seconds. Voice in any language instantly. The practitioners of this skill understand both the creative potential and the ethical considerations. They know when AI audio enhances creativity and when it needs human touch. They're audio directors who orchestrate AI tools like instruments in a symphony. Use when "AI music, generate music, Suno, Udio, AI audio, AI sound, generate soundtrack, background music, sound effects, audio generation, jingle, AI score, stem separation, ai-audio, music, suno, udio, sound-effects, soundtrack, generation, audio-branding, production" mentioned.

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通过命令查找和控制Bluesound及NAD播放器，查看状态、播放、暂停、停止或调整音量，还可管理播放器分组，并搜索和播放TuneIn内容。

• 查找播放器并查看状态
• 控制播放并调整音量
• 向分组添加或移除播放器

Generate music and sound effects from written descriptions with AudioCraft. Covers MusicGen and AudioGen, using reference melodies or musical styles, producing stereo audio, adjusting generation settings, and saving generated sounds as audio files.

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• Generate music from a written description
• Create sound effects and environmental audio
• Generate music using a reference melody or style

Generate music and sound effects from written descriptions with AudioCraft. Covers MusicGen and AudioGen, using reference melodies or musical styles, producing stereo audio, adjusting generation settings, and saving generated sounds as audio files.

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• Generate music from a written description
• Create sound effects and environmental audio
• Generate music using a reference melody or style

Add a measured sound pass to a motion-graphics video made with Claude Code (HyperFrames, Remotion, GSAP, Claude Motion or the motion-broll skill). Builds a cue list, checks the music's beat grid against the kick drums, lands cuts on the beat, places one real sound effect per cue from a bundled CC0 library, mixes to -16 LUFS with true peaks below -4 dBFS measured on the exported MP4, and proves it with frames, waveforms and 5 timestamps for a human to check. Use when someone wants sound effects, sound design or music added to a motion-graphics video, or says their AI video sounds like cheap beeps.

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Expert game audio designer and implementer specializing in interactive sound design, adaptive music systems, spatial audio, and audio middleware integration. Brings deep knowledge of FMOD, Wwise, and native engine audio systems to create immersive sonic experiences that respond dynamically to gameplay. Use when "game audio, sound design, game music, FMOD, Wwise, spatial audio, 3D sound, audio middleware, game sfx, adaptive music, interactive audio, audio bus, game mixing, audio occlusion, reverb zones, audio pooling, sound manager, audio, sound, music, game-audio, fmod, wwise, spatial-audio, middleware, mixing, sound-design" mentioned.

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Directs game audio and judges it by numbers — sound palettes, SFX and music briefs, Godot import settings, licence-checked generator briefs, and measured file checks (loudness, peaks, clipping, silence, loop seams). Trigger for game sound design or an audio style guide; an SFX or music list; a loop that clicks; sounds too loud or uneven; what LUFS a game should hit, or normalizing to it; checking WAV or Ogg files before import; or say soundsmith (direct, brief, audit, test). Direction, not DSP; generating a sound starts here. Running ComfyUI is comfyrunner's; audio code godotsmith's; transcription whisperrunner's; canon lorescribe's; pixel art pixelsmith's.

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Generate narration, dialogue, sound effects, and music with ElevenLabs APIs for videos, podcasts, and games. The skill covers voice settings, pronunciation, pauses, voice cloning, and using measured audio lengths to synchronize scenes in Remotion, a video creation framework.

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• Creating narration for videos or podcasts
• Generating sound effects from written descriptions
• Composing instrumental background music

Coordinate game audio work from creative direction through sound specifications, accessibility requirements, technical planning, and code integration. Combine the participating agents’ outputs into an audio design document for a chosen feature or area.

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• Planning combat sound effects and gameplay triggers
• Designing ambience for a forest area
• Planning adaptive music for a boss encounter

Add or adjust music and sound effects in the active iPolloWork video. Place authorized audio files as separately editable timeline clips, preserve narration and visual timing, and base synchronization and mix assessments on observed evidence.

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• Add background music to a video
• Place sound effects at measured event cues
• Revise the music and sound effects mix

Design and implement sound feedback for Three.js or web games, from action cues to music transitions. Define which sounds take priority, respect volume controls, provide visual alternatives, and check browser behavior and audio performance.

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• Give attacks, hits, and blocks distinct sound cues
• Keep critical sounds audible during busy combat
• Change music smoothly as game states change

Listen with earshot whenever you must judge, choose, trim, verify or compare sound you cannot hear - picking a sound effect, music or ambience from candidates, finding the cleanest moment in a recording, checking whether audio reads as a real recording or as code-synthesized, reviewing a soundtrack or a video's audio (what happens when, sync to picture, loudness, mix), A/B-ing a mix change, or making a sound in code and improving it by listening (earshot forge). Use it before telling anyone how audio sounds.

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Use when adding sound to a video or generating standalone audio with Sonilo models on Scenario via MCP: text-to-sound-effects, text-to-music, video-to-sound-effects or video-to-music from a clip, scoring silent AI video, foley, ambience, muxed video-to-video variants returning the clip with the new track mixed in, keeping speech while replacing music, or per-segment sound control. Keywords: Sonilo V1.1, SFX, soundtrack, score, keepSpeechVocal, segments, royalty-free.

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Scores a riso film or reworks its score. Designs the cue list from the film's FILM.md events, builds a deterministic renderAudio() from the sound kit in studies/sound.html, iterates with tools/audio.mjs, gates determinism, length, loudness and sync, and records measured results in FILM.md. Use for "score this film", "add sound/music", "the climax is too loud", "fix the handoff at 16 s", "check the mix", sound effects, foley or a soundtrack on a riso film. Not for drawing or motion (riso-film) or changing tools/.

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Produce, direct, generate, QA, and integrate non-speech audio with ElevenLabs Text to Sound Effects / Sound Effects API. Use when an agent needs custom SFX, foley, ambience, loops, stingers, impacts, UI sounds, musical one-shots, trailer braams, or sound-design layers for video, ads, social edits, games, apps, podcasts, audiobooks, or interactive media using ElevenLabs.

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音乐制作 / 混音 (音乐制作 / 混音 (Music Production & Mixing) — 录音棚与卧室工作室里把一首歌从编曲/录音/编程做到混音/母带成品的工程+艺术认知操作系统，面向制作人(producer)、混音师(mixing engineer)、母带工程师(mastering engineer)、beatmaker、唱作人/bedroom producer，以及想入行/服务这行(录音棚、plugin 厂商、sample 公司)的视角。覆盖: (a) 第一性张力 — **服务歌曲/情绪 (serve the song / emotion-first: 技术只为打动人，'if it sounds good it is good'，用耳朵不用眼睛) ⇄ 技术正确/工程纪律 (technical correctness: gain staging 增益结构、headroom 余量、相位 phase、监听校准、LUFS 响度规范)**; **黄金耳朵/直觉混音 (mix by ears, reference-driven, 不看分析仪) ⇄ 看表/分析仪/规则 (mix by metrics: EQ 曲线、频谱仪 spectrum analyzer、相关计 correlation meter)**; **少即是多/减法混音 (subtractive, 'less is more', 录好源头 = 混音成功一半) ⇄ 重度处理/'we'll fix it in the mix' (heavy processing, 后期补救)**; **In-the-box 全数字 (ITB: DAW + 插件，召回方便，bedroom 可达专业) ⇄ 模拟硬件/outboard (analog console + 硬件，'mojo'/谐波染色 vs 召回噩梦)**; **人性化/groove/不完美 (humanize, push/pull, 'the feel') ⇄ 量化/网格/修音 (quantize to grid, pitch-correct, 'in the pocket' 靠编辑)**; (b) 核心工作流 / pipeline (最标准、最易蒸高质量+CLI 化) — 编曲制作 arrangement/production → 录音/编程 tracking/programming → 编辑 editing (comping 选段/quantize/pitch-correct/time-align) → 混音 mixing (gain staging → balance 平衡 → EQ → compression → 空间 reverb/delay → 自动化 automation → 总线/母线处理 bus/mix-bus) → 母带 mastering (响度/EQ/限制 limiting/dither/排序+间隔) → 交付 delivery (DDP/streaming spec/stems); (c) 工具栈 — DAW (Pro Tools 录音棚标准/Ableton Live 电子+现场/Logic Pro Mac 性价比/FL Studio beatmaker/Cubase/Studio One/Reaper); 插件 (EQ: FabFilter Pro-Q/SSL/API; 压缩: 1176/LA-2A/SSL bus comp 及其复刻 Waves/UAD/Plugin Alliance; 混响: Valhalla/Lexicon/Bricasti; 调音: Auto-Tune/Melodyne; 限制器 limiter: Pro-L 2/Ozone); 硬件 (监听音箱 monitors: Yamaha NS-10/Genelec; 声学处理 acoustic treatment; 转换器 converters: Apollo/RME; 话筒 mics: U47/SM7B/57); 采样/音色 (Splice/sample packs/Kontakt/Serum 合成器); (d) 知识正典 — Mixing Secrets for the Small Studio (Mike Senior)、The Mixing Engineer's Handbook / Recording Engineer's Handbook (Bobby Owsinski)、Zen and the Art of Mixing (Mixerman)、The Art of Mixing (David Gibson 可视化)、Modern Recording Techniques、Sound on Sound 杂志、Mix With The Masters 大师课、Pensado's Place; (e) figures/流派 — 混音大师 (Chris Lord-Alge CLA 摇滚/Andrew Scheps 'Stadium' 3-bus/Tony Maserati/Manny Marroquin/Serban Ghenea 流行隐形混音/Michael Brauer multing); 制作人 (Rick Rubin 减法/氛围、Quincy Jones、Dr. Dre 完美主义、Max Martin 流行结构、Jack Antonoff、Finneas bedroom→Grammy、Metro Boomin/trap、Timbaland、Pharrell); 母带 (Bob Katz K-system/响度战争批判、Bob Ludwig、Greg Calbi); 教育者 (Mike Senior、Pensado、Warren Huart Produce Like A Pro、Dan Worrall 技术深挖); (f) 行业话术/黑话 — gain staging/headroom/LUFS/true peak/comping/bouncing/printing/stems/DI/reamp/sidechain/parallel compression 并行压缩/mid-side/bus/aux/send-return/dry-wet/transient/sibilance/de-ess/pumping/mud 浑浊/harsh 刺耳/boxy/muddy/in the pocket/the pocket/quantize/swing/groove/vibe/mojo/reference track/A/B/recall/print/glue 胶水; (g) 争议/批判 — 响度战争 loudness war (Bob Katz/Loudness Penalty/streaming 归一化 LUFS 终结了吗)、修音/Auto-Tune 之争 (artistic vs cheating)、ITB vs 模拟玄学 (硬件 'warmth' 是否安慰剂、null test 盲测)、preset/AI 混音 (iZotope/LANDR/sample-based 是否毁了 craft)、bedroom producer 民主化 vs 录音棚消亡、'loudness'/over-compression、plugin 复刻 vs 真硬件、Spotify normalization 对母带的影响、过度依赖 reference/抄袭; (h) 创意 vs 技术张力是本行业 deep tacit 知识的核心 — 大量隐性 '听感' 知识难以言传，靠 reference/学徒/千小时积累。不含: 现场扩声 live sound/PA、音乐理论/作曲 composition (虽相关但聚焦录音棚后期制作)、配乐/film scoring (虽相关但聚焦歌曲制作)、纯硬件电子工程/合成器 DIY、音乐商业/版权/发行 (虽相关但聚焦制作技艺本身)。) Master OS — automated mastery of 音乐制作 / 混音 (Music Production & Mixing) — 录音棚与卧室工作室里把一首歌从编曲/录音/编程做到混音/母带成品的工程+艺术认知操作系统，面向制作人(producer)、混音师(mixing engineer)、母带工程师(mastering engineer)、beatmaker、唱作人/bedroom producer，以及想入行/服务这行(录音棚、plugin 厂商、sample 公司)的视角。覆盖: (a) 第一性张力 — **服务歌曲/情绪 (serve the song / emotion-first: 技术只为打动人，'if it sounds good it is good'，用耳朵不用眼睛) ⇄ 技术正确/工程纪律 (technical correctness: gain staging 增益结构、headroom 余量、相位 phase、监听校准、LUFS 响度规范)**; **黄金耳朵/直觉混音 (mix by ears, reference-driven, 不看分析仪) ⇄ 看表/分析仪/规则 (mix by metrics: EQ 曲线、频谱仪 spectrum analyzer、相关计 correlation meter)**; **少即是多/减法混音 (subtractive, 'less is more', 录好源头 = 混音成功一半) ⇄ 重度处理/'we'll fix it i

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Define or extract a consistent brand voice that other skills can use. Three modes: Extract (analyze existing content), Build (interview-based), Auto-Scrape (from URL). Use when copy sounds generic, when starting any new project, when voice feels inconsistent across channels, when onboarding a new brand, or when any skill needs voice-profile.md but it doesn't exist yet. This is always the first skill to run for a new project. Make sure to use this skill whenever the user mentions tone of voice, brand personality, 'my copy all sounds the same', 'how should I sound', 'analyze my website voice', 'define my tone', or anything about making content sound more human or distinctive. Even if the user just says 'my marketing sounds generic' — that's a voice problem.

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Builds a personal voice profile so Cowork writes the way you write — not like a generic AI. Use when personalizing your writing style, for capturing your communication patterns and tone, during setup after getting generic-sounding output, when training Cowork to match your voice, or when the user says "teach claude my voice", "my writing style", "output doesn't sound like me", "brand voice", "personalize output", "make it sound like me", "it sounds too formal", "it sounds too robotic", "can cowork match my tone", or "how do I get cowork to write like me".

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Expert-level acoustics knowledge. Use when working with sound waves, acoustic propagation, resonance, standing waves, Doppler effect, room acoustics, ultrasound, noise control, musical acoustics, or architectural acoustics. Also use when the user mentions 'sound wave', 'decibel', 'frequency', 'resonance', 'standing wave', 'Doppler effect', 'acoustic impedance', 'reverberation', 'ultrasound', 'noise control', 'harmonics', or 'sound intensity'.

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