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Basecamp 5 runs on Puma in cluster mode: one master process with preload_app! and 63 single-threaded workers per host, deployed as a Docker container with Kamal. We serve Basecamp from several sites. Each site has its own web hosts and a read replica of the database, and writes go to a single primary database in one of them. On our busiest hosts, each deploy left up to 2,000 requests waiting while the new workers warmed up. We reduced those queues by running signed-in requests through the app in the Puma master, before it forked the workers. Why 63 single-threaded workers? Basecamp has always served web requests from processes rather than threads. It ran on Unicorn, which only does processes, until we moved to Puma in January 2025, and we kept the same setup: workers (Concurrent.physical_processor_count * 1.3).ceil threads 1, 1 preload_app! On a 48-core host that’s 63 workers, each handling one request at a time. We chose 1.3 after benchmarking HEY in 2023, when we moved our apps out of the cloud and onto our own hardware. We tested several combinations of workers and threads with a mix of GET and POST requests on a 32-vCPU VM. Every multithreaded configuration we tested was slower and handled fewer requests than single-threaded workers. Adding workers beyond about 1.2 to 1.3 per vCPU brought little benefit. The threaded workers spent a lot of their time waiting for Ruby’s global VM lock. That made single-threaded workers a good fit for this workload, and we use the same setup for Basecamp. An app that spends more time waiting on its database or other services may benefit from more threads, so benchmark your own app. The other reason is the app itself. Basecamp has class-level state in places and has never needed to be thread-safe. With one request per process, it still doesn’t. Processes do use more memory than threads, and preload_app! reduces the difference. The master loads the app once and the workers share its memory through copy-on-write until they write to it. Shopify’s comparison of Ruby execution models explains the trade-off well. In the HEY benchmark the best setup came to about 260 MB of PSS per core, where PSS counts each shared page once, split between the processes using it, and the gap to a threaded setup was smaller than we’d expected. What Puma does on each host when a container starts: one master, then 63 forked workers that share its memory until they write to it. Two things about this setup matter for the rest of the post. A worker that’s compiling or loading something is fully blocked — there’s no other thread to pick up the next request. And whatever the master has in memory before it forks, all 63 workers share. Whatever they build after the fork, they build 63 times. What happens when we deploy Kamal starts the new container alongside the old one, and kamal-proxy moves the host’s traffic across as soon as the health check passes. At that moment, the new workers have handled health checks but no customer requests. preload_app! means the master loads the app once and the workers inherit it through fork. That covers the code. It doesn’t cover anything Ruby and Rails set up on first use: YJIT compiled code. YJIT compiles a method once it’s been called a certain number of times. The master calls very little during boot, so every worker compiles the same methods again on its own first requests. Compiled templates. Action View turns each ERB template into a Ruby method the first time it’s rendered. The schema cache. Active Record reads each model’s columns from the database the first time that model is used. Inline caches and memoized values throughout Ruby, Rails and the app. All 63 workers did all of this at once, while serving the traffic the old container had been handling a second earlier. In the test environment with YJIT on, the first request to a project page on a cold process took 652 ms, 151 ms of it YJIT compiling. The same request to a warm process took 28 ms. In production, CPU time per request peaked at around 200 ms while kamal-proxy moved traffic to the new container, against about 30 ms once the workers had warmed up. A host with spare CPU absorbs this. Every one of our web hosts has 48 cores and 63 workers, but each Amsterdam host serves around 250 requests per second, against 25 to 60 at our other sites. In Amsterdam the slow first requests turned into a queue. At a peak-hour deploy, the Puma backlog on an Amsterdam host reached anywhere from 250 to 2,238 requests, and kamal-proxy’s p99 response time hit about 10 seconds. Eron, our Director of Operations, had been tracking this since June. Another server in Amsterdam would help, but it would take weeks to arrive, so we also wanted to make deploys cheaper on the hardware we already had. What didn’t work We tried a few things first. In June, Donal tested the first two on a single Amsterdam host, comparing it with its neighbors, and they ruled out two likely causes. Warming each worker’s database connections. Puma’s before_fork hook clears the master’s connections, and each worker opened its own on its first request. Opening them in before_worker_boot instead made no difference. Queries on a freshly booted production host were already under a millisecond, so connections weren’t the problem. A synthetic request in each worker. Next, each worker made a few requests in before_worker_boot to an internal controller that touched every model. That ran the middleware, routing and Active Record paths, but it ran them in 63 workers at once — exactly the CPU spike we were trying to avoid. And a request with no real data renders no real views, so most of the app stayed cold. Spreading YJIT compilation out. Delaying YJIT in each worker by a random interval spread the compiling out over a few minutes, but every worker still ran interpreted until its delay ended. The queue didn’t change. Reforking from a warm worker. This is what Shopify’s Pitchfork does: let one worker serve traffic until it’s warm, then fork the others from it. Puma has an experimental version called fork_worker, and on beta it worked — the reforked workers were warm after three to five requests, where fresh ones took up to 30 seconds. But with fork_worker the template is worker 0, and it keeps serving requests. If it exits, the workers waiting to be forked never start (puma/puma#3596). If it gets no traffic, the refork never happens, which is what we saw on beta. Instacart have a mold_worker patch that promotes a warm worker to a template that stops serving, but it isn’t in a Puma release. We have a branch of it, and we may come back to it. That last experiment did show us where the fix was, though. Everything a warm worker has that a cold one lacks is in its memory, and fork copies memory. The master already has the app loaded. It just never runs it. Run the requests in the master So now, before the master binds its socket and forks, it makes the app’s own requests, in-process, the way a signed-in user would. Rack has a hook for exactly this. Rack::Builder#warmup takes a block that’s called once with the built app, before the server starts. rails server builds the app from config.ru, so the change to boot is one line: require_relative "config/environment" warmup { WarmUp.configured.run } if ENV["WARM_UP"] run Rails.application With preload_app! this runs in the master, and the workers inherit whatever it did. Puma binds its socket after the app is built, so until the warm-up finishes the health check’s connection is refused and kamal-proxy keeps retrying. No request reaches a worker that hasn’t been warmed. The warm-up has three steps. After precompiling the views, it gives the page requests and schema loading a shared 20-second budget, checked before each page or model. 1. Precompile the views actionview_precompiler reads every template for its render calls and compiles each one with the locals it’s passed. For us that’s 1,394 templates in about two seconds. A first request to a project page then compiles 2 templates instead of 44. 2. Request the pages, signed in A small browser class makes the requests through Rack::MockRequest, with the two cookies a real sign-in sets, then goes back for each page’s lazy Turbo frames: class WarmUp::Browser def initialize(signed_in_as:) @client = Rack::MockRequest.new(Rails.application) @headers = { "HTTP_USER_AGENT" => "Basecamp warm-up", "HTTP_COOKIE" => cookie_for(signed_in_as), "bc3.warm_up" => true } end def visit(path) page = get(path) frames_in(page).each { |id, src| get(src, "HTTP_TURBO_FRAME" => id) } end private def get(path, headers = {}) @client.get("https://#{host}#{path}", @headers.merge(headers)) end def frames_in(page) Nokogiri::HTML5(page.body).css("turbo-frame[src]").map { |frame| [ frame["id"], frame["src"] ] } end end The requests are signed in. The user is a monitoring account we already use for automated checks, and the pages are its own project, Campfire, to-dos, documents and messages. Public pages weren’t enough: after warming up with signed-out pages only, the first signed-in request to the projects page still took 131 ms, because authentication, the signed-in controllers and their views had never run. With signed-in pages it took 40 ms. cookie_for writes the same signed cookie the sign-in controller does, using the app’s own cookie jar, so there’s no API token and no secret to store. The frames are followed. The busiest HTML requests in production aren’t pages at all but Turbo frames — the sidebar badge, the inbox, the navigation menus. The browser parses each page and requests its <turbo-frame src> URLs with the Turbo-Frame header, so those controllers and views get warmed too. Our first four pages turned into 60 requests. The requests are excluded from rate limiting. They are internal, so they do not count against the rate limits that apply to real visitors. 3. Load the rest of the schema The page requests load the schema for the models they touch. The last step loads the rest, from the read replica: ApplicationRecord.reading do models.lazy.take_while { time_left? }.each { |model| model.load_schema if model.table_exists? } end The step checks 261 models and loads any schema information still missing. Those database round trips add up when the primary is far away: outside a request, Active Record uses the writing role, and from a host a long way from the primary each round trip is tens of milliseconds. Reading from the local replica brings the step down from about 20 seconds to 3.5. The pages go first because they load most of the schema anyway. If the time budget runs out, the step stops, logs how many models it got through, and the workers load the rest on first use like they always did. Rails can also load the schema from a dumped cache file at boot (bin/rails db:schema:cache:dump), which would make this step unnecessary. We don’t ship one in our image yet, because the dump needs a database to read from at build time, and we have several databases to cover. It’s on the list. What to close before the fork Running requests in the master opens things the master never opened before, and every worker inherits them. Two processes writing to the same socket will corrupt each other’s traffic, so you need to know what’s open before you fork. The way to find out is to list the master’s open file descriptors — ls -l /proc/<pid>/fd — before and after a warm-up, in an environment set up like production. Development wasn’t enough for us: it stores files on disk, so our S3 connections only showed up in production. Then, for each thing that’s open, check how its library handles a fork. We found three kinds: Already handled. Plenty of libraries detect a fork on their own, either by recording the PID they connected from and reconnecting in the child, by opening per-process files, or by resetting their thread pools. Redis clients, metrics libraries and concurrency libraries tend to be in this group. Check, but you probably don’t need to do anything. Already closed. Database connections are the classic one, and most Puma configs already clear them in before_fork. Anything else that’s opened per process — we have a SQLite cache the workers open on boot — needs closing when the warm-up finishes. Needs a new step. HTTP clients with keep-alive connections are the ones to look for: cloud SDKs with connection pools, tracing exporters, error reporters. They usually have no fork handling at all. We empty the aws-sdk connection pools in before_fork, and we run the warm-up untraced so the OpenTelemetry exporter never opens its connection to Tempo in the first place. Once that’s done, before_fork finishes with Process.warmup, which Ruby 3.3 added for this purpose: a major GC, a heap compaction, and every surviving object promoted to the old generation, so the memory pages the workers share change as little as possible afterwards. Choosing the pages The first list was the four pages that ran the busiest requests on beta. Once the warm-up was live, production showed us which endpoints were still cold. For one deploy, we compared each endpoint’s mean duration in the six minutes after kamal-proxy moved traffic to the new container with the same endpoint an hour later, then multiplied the difference by the number of requests in those six minutes. That gives the extra time each endpoint cost us because it was cold: Endpoint Cold Warm Requests in 6 min Extra seconds Campfire 246 ms 70 ms 6,490 1,140 Projects (JSON API) 84 ms 50 ms 22,077 771 Docs & Files 262 ms 177 ms 4,996 421 To-dos tool 205 ms 113 ms 4,018 371 To-dos (JSON API) 33 ms 16 ms 18,738 320 The pages already in the warm-up showed what to expect: the project page kept a 36 ms gap after a deploy, and the to-do page 10 ms. We’ve proposed adding these five requests, and expect them to add about five to seven seconds to the page step. The two JSON endpoints were a surprise. The warm-up’s page list had no API requests in it, so nothing on the API path had run before the first real request: not the API controllers, and not the Jbuilder templates rendering real records. Precompiling the views covers JSON templates too, but it isn’t a substitute for running the request. Results The warm-up is on for all 68 web hosts. With the first four pages it took 12 to 16 seconds per host: about 2 seconds to precompile the views, 7 to 9 for the 60 requests, and 3.5 for the schema. Deploys take that much longer per host, and we raised the deploy timeout from 30 to 60 seconds to cover it. In Amsterdam, at a peak-hour deploy: During deploy Before After Peak Puma backlog per host 250–2,238 requests 19–223 requests Peak kamal-proxy p99 about 10 s 2.4–4.8 s Peak CPU time per request 201–214 ms 88–132 ms Peak database time per request 56–69 ms 39–47 ms The same eight hosts at three deploys on 1 October, an hour apart, as the warm-up went from one host to four to all eight. The deploy in the middle, with four hosts warmed and four not, shows why every host needed the warm-up. Each warmed host recovered faster on its own: mean request duration peaked at 130 to 173 ms, against 203 to 311 ms on the hosts that weren’t warmed. But the backlog on all eight was about the same, because they were all waiting on the same database. Mean request duration on each host at the 07:21 UTC deploy. Blue hosts warmed up in the master before forking, orange hosts did not. Memory came down too. The workers now share compiled templates, YJIT code and the schema with the master instead of each building their own copy. On beta, the view precompiler alone took a busy worker’s private memory from 174–202 MB to 119–135 MB. Thirty minutes after the deploy, the web containers used about 39 GB less memory than the previous day’s containers at the same age and traffic. Amsterdam served most of our traffic at the times we tested. In Amsterdam, each new container used about 2 GB less just after traffic moved to it, which lowers the peak while the old and new containers overlap. Working with Claude Claude Code helped throughout. It combed through the per-worker backlogs and per-endpoint timings in Prometheus and Loki after each deploy, worked out the cold-versus-warm cost of each endpoint, and prepared the changes and the pull request descriptions with the benchmarks in them. We decided what to try, deployed it and read the results. If you do this Warm the master before it forks. Compile common code and templates and load their schema in the master, so workers inherit that work. With preload_app!, Rack::Builder#warmup runs before the workers start accepting traffic. Use the app’s real requests. Public pages, internal endpoints and synthetic queries warm the paths they run and nothing else. Signed-in requests to real records, frames included, run what production runs. Measure the cold penalty per endpoint. The difference between an endpoint’s cold and warm duration, times its request count after a deploy, ranks the pages worth adding. Ours weren’t the ones we’d have guessed, and two of them were JSON. Check what the warm-up leaves open. List the master’s file descriptors after a warm-up and account for every one before the fork. Two of ours needed changes. Set a time budget. A warm-up that runs long on one slow host fails the deploy on that host. Ours gives the page requests and schema loading a shared 20-second budget, checked before each page or model, puts the most valuable pages first, and logs what it skipped. Reforking from a warm worker, as Pitchfork does, solves the same problem continuously rather than once at boot, and it would warm paths no fixed list of pages covers. We may still get there: our branch brings Instacart’s mold_worker up to date with Puma’s main branch and fixes the bugs we found in it. But warming the master works with the Puma we already run, took a few days to implement, and substantially reduced the queues after deployment.
Today we are releasing the version 1.0 of Lexxy. Lexxy is a rich text editor for Rails built on Lexical. It already powers Basecamp, Fizzy and many others, and it will become the default editor in Rails. I recently presented it in Rails World (slides, video coming soon). This is the article version of my talk. Trix hit a wall Trix has been our editor since 2015, and every Rails app’s editor since Action Text shipped in Rails 6. It’s small and reliable, and it has served millions of people for a decade. But in the last few years our customers kept asking for features like tables or code highlighting, and we kept struggling to deliver them. The reason is the Trix document model. A Trix document is a flat list of blocks. A block is a line of text with some labels attached, like quote, bullet list, bullet. There is no tree, and a block can never contain another block. Nesting is an illusion: at render time, adjacent blocks with the same labels get wrapped together. A flat list of blocks with very limited extensibility options That design bought a lot of simplicity, but you can’t express something like a table with it. Two cells next to each other would carry exactly the same labels, so Trix would merge them into one. The model can say “this bullet is one level deeper”. It cannot say “this cell is different from the cell next to it”. A tables issue has been opened since 2015! The model just can’t do it. The second problem was maintenance. An editor built on contenteditable behaves differently in every browser and even changes from time with operating system releases. In 2024, three iOS releases in a row broke typing, dictation or the caret in Trix, and each one cost us real effort to work around. Check this one as an example. Why Lexical This was a conversation we had at 37signals for years: 2022. We started a project to add tables to Trix. We gave up after a week. The document model can’t represent two-dimensional things. 2023. I built a proof of concept with Tiptap inside HEY. We liked it, but we never started a serious project with it. 2024. We built House, our own Markdown editor, for Writebook. Not WYSIWYG, but WYSIWYM: what you see is what you mean. A wonderful editor for long-form writing like books or technical documentation. 2025. We tried House in another product, and it didn’t fit. For most apps, WYSIWYG was just the right answer. 2025. We had the discussion again, and this time we looked at the whole field. Four years of the same conversation David ruled out Tiptap, CKEditor and the other commercial editors: an open source core with features kept proprietary, and a sales team behind them. We didn’t want our editor to depend on somebody else’s licensing decisions. Then we found Lexical: MIT, from Meta, and very powerful. I spent two weeks evaluating it, and in May we made the call to go with it. A tiny core. Pick the rest. Lexical’s core has zero dependencies and weighs forty-two kilobytes. In a way, it validates the approach that Trix pioneered. The document is an immutable state you never mutate directly, you just get new snapshots when performing updates; contenteditable is an input device and a rendering surface, never the source of truth. It has a DOM reconciler to update the actual DOM very efficiently, and other primitives to deal with handling commands and node transformations. Everything else, from lists to tables to markdown, is a package in the orbit. Lexxy uses thirteen of them. Lexical solved the maintenance problem too. Meta’s products like Facebook or Instagram use Lexical and their user count is in the hundreds of millions. This means that even small issues with new keyboards and devices are fixed fast by the dedicated Meta team that maintains it. Furthermore, Meta’s business is the products, not the editor. We much rather liked this structure of incentives for the long-term investment an editor represents. The iceberg The plan was simple. Pick Lexical, wire it up to Action Text, add a toolbar and ship it. Well, it didn’t go exactly like that. What you envision, and what's under the water Lexxy today is thirteen thousand lines of vanilla JavaScript on top of Lexical. A great editing experience is very hard to get right. An editor is a machine where the user can change the state in a thousand different ways. For example. you have two images one after the other and want to put the cursor between them, but there is nothing there to put a cursor in. Or somebody pastes from Google Docs, and you have to turn a pile of inline styles and empty spans into clean markup. And then Safari, and Android keyboards, and the clipboard, and undo, and… From the first pull request to Basecamp 5 The first pull request landed in May 2025. Fizzy launched with Lexxy in December, and Basecamp 5 in May this year. Basecamp was the real test: twenty years of content written with Trix, and people who use the editor all day, every day. Zoltán Hosszú and Samuel Péchèr were the key people who made this happen. The took a very green version of Lexxy, added a ton of features (including Tables) and polish, and they fixed countless bugs. They also pulled off a remarkable milestone: seamlessly switching millions of Basecamp users from Trix to Lexxy. What’s included? We didn’t want a to build Trix with tables. We had Lexical and we had agents to help, so we wanted to be ambitious here. We went for the whole package. Features In terms of major features: A color highlighter, built in instead of this being a custom Basecamp extension, as it was with Trix. Tables, with an interface we worked hard to keep simple and accessible. Markdown. You type it, you get rich text. Code blocks with syntax highlighting as you type, in more than twenty languages. Image galleries you can navigate and reorder with the keyboard. Prompts. Type a character, get a menu: mentions, emoji, or whatever your app needs. Links by pasting a URL over selected text. Previews of attachments like videos and PDFs, rendered as your app renders them. Action Text Native Lexxy is also Action Text native. Action Text stores attachments in a canonical format that Trix doesn’t speak, so it translates on save and again on render. We taught Lexxy to emit exactly that markup. What you see in the editor is what gets saved, and what gets saved is what your app renders. Your existing content, attachments and views keep working. That opened another door. Action Text now talks to an editor adapter, with an implementation for Trix and one for Lexxy, so switching is one line: config.action_text.editor = :lexxy. Here the credit goes to Sean Doyle, who started that pull request before Lexxy existed and took it to the finish line with our input. It ships with Rails 8.2, and we hope other editors will use it too. Extensibility And you can extend Lexxy. Extensions are built on Lexical’s own mechanism, and this is not a second-class API: Lexxy itself is thirteen extensions, tables included, and Basecamp has nine more. class MyExtension extends Lexxy.Extension { get enabled() { … } get allowedElements() { … } get lexicalExtension() { return this.defineExtension({ name: "my-extension", nodes: [ … ], register(editor) { … } }) } initializeToolbar(toolbar) { … } dispose() { … } } Lexxy.configure({ global: { extensions: [ MyExtension ] } }) My favorite of how extensible is Lexxy are voice notes in Basecamp: you record, you see the waveform while you talk, and it becomes a player inside the document. About a thousand lines, without forking or patching anything. Performance Lexxy is fast, because Lexical is fast. In a ten thousand word document, Trix takes thirty-eight milliseconds to process a keystroke. Lexxy takes four. Above fifty milliseconds, the editor starts feeling sluggish. Compared to Trix, Lexxy brought a whole new performance regime. Milliseconds per keystroke by document size Accessibility Accessibility in Trix was not great. In general, building accessible experiences for rich text editors built on top of contenteditable is quite hard. We had a dream team to help with Lexxy accessibility. Bruno Prieto worked with Michael Berger, our accessibility champion at 37signals, to bring the bar to where we wanted it to be. Bruno is an outstanding programmer who happens to be blind, so he knows one thing or two about accessibility, and he delivered. As a result, in Lexxy everything is reachable with the keyboard. The editor announces itself properly to screen readers, and it gets a thousand details right so that the editing experience using a screen reader is fantastic. You can learn more about accessibility in our docs. Security The latest AI models have resulted in an unprecedented explosion of vulnerabilities found, and we took this thread quite seriously. Lexxy counted with programmers of the caliber of Jeremy Daer and Mike Dalessio helping to make it more secure. We have put a lot of attention to sanitizing the editor contents, validating attachment URLs and making sure that the types of attachments and nodes the editor support are allow-listed. Lexxy also comes with preliminary Trusted Types support, to offer CSP-level control over certain DOM manipulation APIs. The trusted types policy is there, but we are not enforcing it everywhere yet. Agents We started Lexxy using Claude since day one. A main lesson was that an agent needs to drive the editor like a user does. The best decision we made in this project was moving the system tests from Capybara to Playwright: three browsers instead of one, a suite that runs in seconds, and a much more faithful clipboard, keyboard and focus. This represented a tremendous improvement in how agents could close the loop by themselves. Write a test, see it fail, fix it, see it pass. We have more than six hundred browser tests today. Moving the suite to Playwright changed how fast we could write tests With a solid testing foundation in place, we could start fixing bugs in large batches. As mentioned, getting a text editor right implies a ton of work, and the kind of backlog we got at some point would have have buried us in pre-agent times. We also used agents to validate the fixes: an agent reproduces the bug in the public Lexxy sandbox, checks that it’s gone with the branch applied, and labels the pull request. Agents were essential to get Lexxy done with the people and the deadlines we had: we are a small company, and the same people were shipping two products in parallel. 275 cards closed The new Rails default We believe Lexxy is the best rich text editor out there right now, and we are going to make it the default editor in Rails next. If you’re starting a Rails application today, use Lexxy. If you’re using Action Text with a standard configuration, switch. It’s one line, and we’ve worked hard to make it seamless.
Today, we are introducing Lexxy, a new rich text editor for Action Text. It’s based on Lexical — Meta’s text editing framework — and it brings a much better text editing experience to Rails: Good HTML semantics. Paragraphs are real <p> tags, as they should be. Markdown support: shortcuts, auto-formatting on paste. Real-time code syntax highlighting. Create links by pasting URLs on selected text. Configurable prompts. Support for mentions and other interactive prompts with multiple loading and filtering strategies. Preview attachments like PDFs and Videos in the editor. Works seamlessly with Action Text and Active Storage. We created Lexxy because Trix was falling short of expectations in certain areas, and we encountered technical barriers when attempting to offer the experience we wanted. Lexxy comes with a bunch of juicy improvements, but more than that, we now have a fantastic foundation to build on top of. Lexxy will also bring a great improvement to Action Text: we will let you configure the editor in Action Text just like you configure the database in Active Record. This will open the door to integrating other editors in Rails. Text editing is central to our products. We believe Lexxy will let us deliver the editing experience we want. We are launching an early beta today, give it a try!
Note: Shortly after releasing this gem, we renamed it from Action Native Push to Action Push Native, in case you arrived here looking for the gem of the former name. More details here. We’ve open-sourced Action Push Native, a Rails gem for sending push notifications to mobile platforms. It supports both Apple and Google push notification services. Why did we build it? We created it to migrate off Amazon SNS and Pinpoint, as part of our broader cloud exit. We’re using it in Basecamp and HEY to send more than 10 million push notifications per day without a hitch. Action Push Native relies on HTTP/2 persistent connections to the Apple Push Notification service, which significantly reduced job duration compared to our previous HTTP/1 setup with AWS Pinpoint: AWS Pinpoint jobs duration Action Push Native jobs duration How does it work? The gem connects directly to the Apple (APNs) and Google (FCM) push notification services. It handles retries, rate-limiting, and deleting dead devices automatically. Configure each platform with your credentials, and you can start sending notifications like this: device = ApplicationPushDevice.create! \ name: "iPhone 16", token: "6c267f26b173cd9595ae2f6702b1ab560371a60e7c8a9e27419bd0fa4a42e58f", platform: "apple" notification = ApplicationPushNotification.new \ title: "Hello world!", body: "Welcome to Action Push Native" notification.deliver_later_to(device) Version 0.1.0 is available now. You can read more on GitHub. We hope you find it useful!
We’ve just launched Hotwire Native v1.2 and it’s the biggest update since the initial launch last year. The update has several key improvements, bug fixes, and more API consistency between platforms. And we’ve created all new iOS and Android demo apps to show it off! A web-first framework for building native mobile apps Improvements There are a few significant changes in v1.2 that are worth specifically highlighting. Route decision handlers Hotwire Native apps route internal urls to screens in your app, and route external urls to the device’s browser. Historically, though, it wasn’t straightforward to customize the default behavior for unique app needs. In v1.2, we’ve introduced the RouteDecisionHandler concept to iOS (formerly only on Android). Route decisions handlers offer a flexible way to decide how to route urls in your app. Out-of-the-box, Hotwire Native registers these route decision handlers to control how urls are routed: AppNavigationRouteDecisionHandler: Routes all internal urls on your app’s domain through your app. SafariViewControllerRouteDecisionHandler: (iOS Only) Routes all external http/https urls to a SFSafariViewController in your app. BrowserTabRouteDecisionHandler: (Android Only) Routes all external http/https urls to a Custom Tab in your app. SystemNavigationRouteDecisionHandler: Routes all remaining external urls (such as sms: or mailto:) through device’s system navigation. If you’d like to customize this behavior you can register your own RouteDecisionHandler implementations in your app. See the documentation for details. Server-driven historical location urls If you’re using Ruby on Rails, the turbo-rails gem provides the following historical location routes. You can use these to manipulate the navigation stack in Hotwire Native apps. recede_or_redirect_to(url, **options) — Pops the visible screen off of the navigation stack. refresh_or_redirect_to(url, **options) — Refreshes the visible screen on the navigation stack. resume_or_redirect_to(url, **options) — Resumes the visible screen on the navigation stack with no further action. In v1.2 there is now built-in support to handle these “command” urls with no additional path configuration setup necessary. We’ve also made improvements so they handle dismissing modal screens automatically. See the documentation for details. Bottom tabs When starting with Hotwire Native, one of the most common questions developers ask is how to support native bottom tab navigation in their apps. We finally have an official answer! We’ve introduced a HotwireTabBarController for iOS and a HotwireBottomNavigationController for Android. And we’ve updated the demo apps for both platforms to show you exactly how to set them up. New demo apps To better show off all the features in Hotwire Native, we’ve created new demo apps for iOS and Android. And there’s a brand new Rails web app for the native apps to leverage. Hotwire Native demo app Clone the GitHub repos to build and run the demo apps to try them out: iOS repo Android repo Rails app Huge thanks to Joe Masilotti for all the demo app improvements. If you’re looking for more resources, Joe even wrote a Hotwire Native for Rails Developers book! Release notes v1.2 contains dozens of other improvements and bug fixes across both platforms. See the full release notes to learn about all the additional changes: iOS release notes Android release notes Take a look If you’ve been curious about using Hotwire Native for your mobile apps, now is a great time to take a look. We have documentation and guides available on native.hotwired.dev and we’ve created really great demo apps for iOS and Android to help you get started.
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Download Now View on pouet.net Intro In the late 80s, I spent an embarrassing number of hours hunched over my ZX Spectrum, typing in Sinclair BASIC programs and rudimentary assembler routines copied from magazines, trying to re-create the Amiga crack intros I’d seen round at a friend’s house. Obviously, they never came even slightly close - but now, many decades later, I’ve finally managed it! I’m now the proud author of a hand-rolled retro demoscene intro that runs on a stock 128Kb Spectrum. It features all those late 80s tropes: A smooth scrolltext (with ‘leet custom fonts!), a three-channel AY soundtrack, bouncing VU meters and the essential parallax starfield. It’s currently 10287 bytes of code, or 19552 bytes as a complete tape image - which, given I’ve been working on this since December 13th last year, means my average rate of code-production is a paltry ~ 455 bytes per week! This blog post is a technical overview of how I got there, some cool tricks I picked up, and everything I had to learn (and re-learn) about the Speccy and Z80 assembly along the way. It simultaneously rates as one of my favourite side-projects ever, and also the one that most often nearly triggered a foot put through my monitor in frustration. I’ll reflect on all that at the end, but for now if you just want to see the finished product, the download button is at the top of the article and the included .tap cassette tape image should load into any emulator. There’s also a YouTube capture, links to the production on pouet.net, and you can run it from within a web browser by visiting my TNFS site portal - check option 4 for recent uploads. Be Kind, Rewind But let’s skip back briefly to the late 80s. Coming from the world of an 8-bit, cassette tape loading computer, seeing an Amiga for the first time was like encountering something from outer space. Like everyone who saw one back in the day, I was blown away by the amazing graphics and sound on display, not to mention the library of ground-breaking games. But I found myself even more captivated by the mysterious (and totally badass) “intros” displayed at the beginning of pirated games. Created by the software piracy groups that had cracked the copy protection and distributed the floppy-disk based games, they were mini works of art in their own right - music, graphics and usually some cool-looking effect to show off the group’s prowess. There’s a great collection of these intros (or “cracktros”) archived on YouTube. Watch a few of those videos and you’ll quickly notice the “design” tropes that almost every cracktro shares: a cool, edgy logo at the top of the screen (bonus points if it’s dripping blood or in any way “metal”), some boastful text displayed on top of an effect of some sort - usually a scrolling parallax starfield, or rotating 3d object - and a further scroll-text full of shout outs, greetings to fellow pseudonymous crackers and adverts for illegal BBS systems galore. Needless to say, to a kid in the 80s/early 90s this was possibly the coolest thing ever. I thought this one was the absolute bomb when I first saw it. Sine-scroller, pirate BBS adverts, cool logo with a sword - and of course, a starfield. There’s something for everyone here. The music from this is burned into my brain. I think pretty much everyone of my classmates knew this intro given the popularity of Lemmings in the early 90s. Skid Row as a group are still active to this day and this is probably the quintessential Amiga cracktro of the period. Endless Piracy. Edgy. Another cool logo, sine-wave scroller, starfield and boasting text. The classics never go out of style. Another great combination of all the essential ingredients. Cool logo, even cooler text font, scrolling starfield and a scroll-text running along the bottom. Vintage stuff. Logo. Text. Scroller. But no starfield - otherwise a solid effort from Anthrox here :) The demoscene grew out of these intros. The cracking eventually faded into the background, and coders, “graphicians” and musicians all contributed to feature-length productions that showcased their abilities, competed with other groups and pushed the machine to its limits. In amazing feats of ingenuity and pure “code as an art form”, the scene lives on today, with groups producing breathtaking productions like this and this - bear in mind, both of those are running on a 7Mhz home computer equipped with a floppy disk, 1Mb of memory and a sound chip from 1985. But much as I admire the sheer skill and dedication that takes, it’s the early “single screen” scrolly-text-and-starfield cracktros I’ve always found captivating. They took on a sort of mystical quality for me, hinting at a scene and a culture I could only ever experience from the outside - which is exactly why I spent all those hours in Sinclair BASIC, trying in vain to re-create them, and dreaming of the day I’d eventually have an Amiga of my own. The Jump Back I eventually did trade up to a range of Amiga systems, joined a few “scene” groups myself and threw myself into a variety of activities until exams and the end of my teenage years beckoned. I dabbled with Z80 code back then, and at one point knew enough 68k assembly to bluff my way through - partly from the Amiga’s heyday, partly from a few “embedded systems” modules at University where I had to program a set of traffic lights or lift-controllers. Given there’s not much call for that sort of thing at my $DAYJOB, though, it had all pretty much faded from my memory. I have kept working on a bunch of projects in my spare time, and one of my favourites is my TNFS site - sort of an old-school BBS system or interactive “website” for the Spectrum, which grew out of a fun experiment to see how far I could push Sinclair BASIC. It relies on a modern network card fitted to the Spectrum, which is how I came to be chatting to “Desertkun”, another TNFS-protocol enthusiast. He’s now producing a great new WiFi network card for the Speccy, and was kind enough to send me a few of the prototypes to test out for him. I was massively inspired by his hardware and low-level coding chops, and during one of our video calls where we’d been comparing our development setups, he asked why I didn’t write any Z80 assembly myself. A throw-away comment, but the challenge was set! Now, I couldn’t face re-writing the whole site in asm, but I figured I could produce a self-contained intro to promote it in the style of the early “BBStros”, and finally be one of the cool kids with a scene production of my own :) I mean, how hard could it be ? (ooooh - foreshadowing!) Dev Environment My development environment through this was pretty straightforward, and is the same stack I use for developing my TNFS site. I just used a Makefile-driven build system which ran my code through the Pasmo assembler, my fork of zmakebas to build BASIC files, and the FUSE emulator for testing. For final testing on the real hardware, I uploaded my .tap files to my local TNFS server where I could run them on my +3. A few additional tools I have to call out because they ended up making a big difference - one is the amazing web-based “asm-editor” I discovered while looking up Z80 instructions. Not only does this site have a great reference of all the Z80 instructions, but it also has an editor where you can run example code and see how the memory and/or various registers change state. Take for example, the djnz instruction - you can build it and step through the example loop construct one instruction at a time. Or try my example of an add instruction in the screenshot to see how the carry flag works when a bit gets shifted out of a register. Although it uses a slightly different syntax to Pasmo (so I couldn’t drop my code directly in it), it massively helped when manually stepping through things. And lastly, probably the most significant debugging tools I used on this project - a notepad and pen, and my two dogs (say “Hi!” to Biscuit & Pebble…) I’ll write some more about this in the wrap-up, but this really was a highly unusual project for me, coming from decades of much higher-level languages and constructs. Most of my z80 code I only ever really understood after drawing out the bytes and bitmasks, keeping a table of register flags and drawing chunks of screen memory out by hand. And I found my evening walks with the two dogs provided ideal rubber duck exercises, although I’m not sure what they both made of my protracted mutterings about the hl register pair. Either way, debugging-by-dog is highly recommended! The Starting Point So, let’s get started. I followed a great “Hello, world!” example from futurice.com to validate my build environment. Beyond that, the first thing I wanted to do was load in my logo and background image I’d use as a “stage” for the remainder of the planned intro. I wasn’t really sure what I was going to do at this point, just that I wanted my logo at the top, and a scrolltext along the bottom row of the screen. As my TNFS site header already looked kinda demoscene-y, I made a quick edit putting in place two blue guide-bars inside which I’d put further content. Memory map courtesy of breakintoprogram.co.uk A Spectrum SCREEN$ file (usually displayed as loading screens) is just a dump of screen memory, starting from byte 16384, and running for 6912 bytes. The weird layout of this is very relevant later, but in order to display it all you need to do is load your file into that memory location. After a few hour’s work of reviewing Speccy internals and following various guides, I had a very simple starting point for my demo that served as the basis for everything else that came after. org $8000 screen EQU $4000 ; address of the first byte of screen memory, 16384 in dec scrlen EQU 6912 ; total length of the screen memory inc. attributes ula EQU $FE ; I/O port for the ULA to control the border black EQU 0 ; Spectrum colour number, the exact same ones BASIC uses start: ld a,black ; Set the border colour to black using the ULA out (ula),a ; Copy my logo header picture to screen memory ld hl,header ; HL = location of my screen file in this code ld de,screen ; DE = start of screen memory ld bc,scrlen ; BC = 6912 bytes to copy ldir ; block copy, see https://jnz.dk/z80/ldir.html ; busy loop - rest of intro goes here :P hold: halt ; sleep until the next interrupt (1/50 second) jr hold ; then jump back and sleep again, for ever header: incbin "assets/header.scr" ; my logo header/background end start Not much to look at now, but this simple starting point introduced me to important concepts like interfacing with the Spectrum’s hardware (ULA chip to start with, and AY sound chip later) via the out instruction, how to pull in binary files using Pasmo’s INCBIN directive, using the Z80’s block copy ldir instruction, the use of register pairs for 16-bit addressing, and simple branching to labels. Hello World The next step was to print something on the screen and explore some of the Speccy’s built-in ROM routines, which are somewhat analagous to syscalls on modern operating systems. There are plenty of disassemblies and guides to the Spectrum ROM available on the internet, one of the best commented and linked one is at https://skoolkid.github.io/rom/. Using this as a reference alongside the various “Hello, world!” tutorials showed me how this sort of thing is built up: at EQU 22 ; "at" control character used to position the cursor row EQU 11 ; coordinates where to print the message col EQU 9 prstring EQU $203C ; where the pr_string routine lives in ROM ld de,msg ; DE = address of the first character ld bc,msglen ; BC = how many characters to print call prstring ; print the lot ; busy loop is the same... msg: db at,row,col ; equivalent of "PRINT AT 11,9" in BASIC db "Hello, world!" msglen EQU $-msg ; 16 bytes in all, pasmo shortcut, $=program counter I ended up mostly not using the ROM routines in my code as they dragged in all sorts of things I didn’t need, but it was massively useful to understand how they worked as they introduced me to yet more commonly-used constructs. For example, the PR_STRING routine defined here shows how you can build a loop over each character. If you’re just starting out, I highly recommend going over the 8 lines in that routine with a notepad and pen, working out the contents of the registers and following the loop constructs. I also made a version of it in asm-editor you can try. If you click that link, you’ll see a version of the code loaded into the web editor. Click “Build”, and then step through the code using the “Step” button - although no text will be actually displayed (I skipped over the call to the Spectrum ROM “restart” vector that does this), you’ll see the various states of the registers and for example the BC register counting down as each byte of the string is processed. Adding Some Style Problem is, the Speccy’s built-in font is not exactly dripping with demoscene credibility. I wanted to use some stylish fonts and this turned out to be super easy - a quick search turned up Jim Blimey’s awesome font collection, which included a ready-to-use set of assembler files and some instructions which soon led me to these additions in my code: ; CHARS is the address the ROM's printing routine reads to find the font. ; Picking our own font is simply a matter of over-writing this chars EQU $5C36 ; from Jim's docs - POKE 23607=5C36 in hex ld hl,myfont-256 ; HL = font address - 256 as per docs ld (chars),hl ; from now on the ROM draws with it! ; rest of code is the same myfont: include "textfont.asm" ; "Cartoon" font from jimblimey.com There we go! Now that’s looking a little more elite. Sorry, I mean 31337. Strap in folks, we’re leaving lamer city… So at this point, a month or so in to my dabblings and I’d started to get a reasonable understanding of common idioms and was starting to feel like this was a project that might actually go somewhere. The problem started when I moved on to trying to implement actual demo effects: It became very apparent, very quickly, just how much I didn’t know about how this all worked. Not to mention the fact that at this level, you’re really closely exposed to the physical hardware intricacies, including the design decisions and trade-offs that the hardware designers had to make when working with the extremely limited specs of the early 1980s. Cursed Screen Layout The first such problem - and the cause of probably 90% of my pain - is the Speccy’s extremely weird screen layout. Rather than standard bitmapped display you might expect on more modern hardware, it is instead split into 3 sections, each with a set of interleaved rows (so if you keep adding 1 to a screen address, eventually instead of reaching the next row, you’ll instead end up 8 rows down, and so on until you hit the bottom of the section and then loop back to the row underneath where you started!) followed by a block of “attribute” bytes which determine the colours of each 8x8 block. The attribute blocks are the reason why each 8x8 character cell can only have two colours (a PAPER and INK attribute) which led to the garish “colour-clash” of spectrum games and distinctive style where artists try to keep inside 8x8 blocks as much as possible. But it was the layout of the bitmap portion that is such a mind twister. Download the video You can see this illustrated whenever a game reads in a loading screen from tape. You can see each section built up with the interleaved rows one at a time, and then finally the colour and other attributes (like flashing ). There’s a lot of detail at the fantastic Break Into Program site. In the defense of the designers, they were working with extremely limited hardware and I don’t think the Speccy was ever imagined as a games machine. When you start shuffling bytes around, you realise that this approach is really optimised for displaying text which is neatly arranged into 8x8 character boundaries. For example, using this “scrambled” bit order, if you have a screen address in the hl register pair, you can quickly get to the next pixel line of a given address by simply incrementing the “high” byte. There’s a bunch of other “cheap moves” you can make by simply shifting bits around: Move Instruction Right 8 pixels inc l Left 8 pixels dec l Down 1 pixel line inc h Up 1 pixel line dec h Down 1 character row add 32 to l It was a reasonable choice for a machine that would probably spend a lot of it’s time displaying BASIC program listings - it’s only when you start trying to write demo or sprite routines that it starts to feel really weird. This also means you’ll pretty quickly need a routine to convert X,Y addresses to the relevant memory addresses. Again, L Break Into Program has a useful routine and if you disassemble more or less any spectrum game or demo, you’ll find a version of this procedure somewhere. And yes, this all became horribly relevant later on… The Scroller Download the video Admittedly, not the most interesting demonstration - but this was the first time I had made something move on the Spectrum’s screen with assembly! I watched this with pride more times than I care to admit :) I had a snazzy logo and “Hello World” text, but that doesn’t make for a very interesting intro! The first effect I wanted was the scrolltext - without that, it’s not really an intro. Now, the Amiga had all kinds of hardware sprites, blitter operations, custom chips but the Spectrum had none of that. I was going to have to work out how to do things the hard way - “banging on the metal”, literally by shifting bits around the screen memory by hand and having the CPU do all the work. This is where understanding the Speccy’s weird screen and character cell layout is so important. It turns out there’s a neat trick as long as I stay inside one character row - there’s a RL instruction, which takes a byte and “rotates” it left. It inserts whatever is in the carry flag into the rightmost bit, and whatever gets shifted out ends up in the carry bit again. That means if you string a bunch of them together, you can move a set of pixels across the screen - the moment they “fall off” one character cell, they end up in the carry flag and then the next rl instruction inserts them at the beginning of the next character cell to the left. Repeat 32 times, and you’ve just moved a pixel (or set of pixels) across a line of the screen: linestart EQU $4880 ; leftmost byte of the line 12 rows down lineend EQU linestart+31 ; rightmost byte column ($489F) linelen EQU 32 ; one whole line is 32 bytes (character cells) across dot EQU %00000001 ; the dot "shape", just one pixel lit at the far right end newdot: ld a,dot ; load the dot shape (only rightmost pixel lit) into a ld (lineend),a ; store it in the rightmost byte of the line, pixel is now lit frame: halt ; wait for the next frame, otherwise it whizzes across too fast to see ld hl,lineend ; hl = last (rightmost) byte of the line ld b,linelen ; loop counter, 32 bytes to work through or a ; trick to clear the carry flag, or against itself leaves a register ; unchanged but clears various bits including the carry flag ; see https://jnz.dk/z80/or_r.html shift: rl (hl) ; rotate this byte left (00000001 -> 00000010) dec hl ; point hl at the next byte to the left djnz shift ; loop construct: b=b-1 and then jump back to shift label until b=0 jr c,newdot ; now we've shifted the whole line, so if the carry flag is set now it means ; the dot has just left the screen, so we jump back to the start jr frame ; otherwise it is still somewhere on the screen, so keep shifting! Download the video Hell yeah. It’s almost a proper scrolltext now! Wrapping this in another loop that increments h each time (remember - that gets us moving down a scanline) gets us moving an entire character cell. Here you can see it moving an entire row of my “Hello world” message. There was however a lot more work needed to make a proper scrolltext, with each letter appearing smoothly. I started off by just printing an entire character at a time on the right-hand edge of the screen - it worked, but was pretty ugly as you saw each new character appear at once in the right-hand side of the screen, scrolling 8 pixels over and then the next character flashed up. Instead, I wanted to make each character appear pixel by pixel and that required a bit more bit juggling. The routine I ended up with effectively streams each character in, line by line, pixel by pixel using the font data directly instead of calling the ROM print character routine. It does this by looking up the ASCII code for a character, and then fetching the corresponding font representation into a 8-byte buffer, one byte for each line of data. The font data starts with the space character (character code 32), so a lookup is simply font code base address + (ascii code - 32) * 8 to get to the bits for that letter. Arranged into an 8x8 grid, the bits for the letter H in the font data look like this. For each row of bits, I shift the line left using a neat trick. The byte is loaded into the a register, and then by adding itself to itself - add a,a we shift the value left (in binary, multiplying by 2 moves everything over one bit) so that the pixel I want to draw ends up dropping into the carry flag. This is an idiomatic way of doing it in Z80 code as it’s faster and smaller than the sla instruction. And every cycle quickly adds up when you’re re-drawing 256 bytes every frame! The character buffer then looks like this, with the top line shifted. Now, with the hl register pair pointing at the correct location on the screen, I can then use the rl trick discussed above. This shifts a scanline from the bottom character row of the screen left by one pixel and draws my pixel in the rightmost position by moving it in from the carry flag. Looping 32 times over this moves the entire row by 1 pixel with my new pixel inserted at the right. I then repeat this step again using inc h to move down one scan line until the entire character column has been drawn. At this point, the character buffer looks like this, and all 8 lines of the bottom screen row have all been shifted left by one bit by looping over all 32 character columns. The whole thing then repeats another 7 times until the entire character has been smoothly scrolled onto the screen. So just to re-state this because I think it’s worth the emphasis - just to scroll a message across the bottom of the screen, we’re having to loop over and re-draw 256 pixels every frame! It shows how much faster assembly is than the BASIC interpreter built into the spectrum’s ROM. I found it amazing to see my code finally working and imagining all the bits flying around and registers flapping away. It really makes me appreciate just how much effort went into creating the games I played back then. Music The original Amiga module I converted. A proper 1980s ear-worm! Of course, any good intro needs some music. On the Amiga, the standard was the “tracker” module format, which has a long and involved history of different forks, versions and tweaks. A song is built up from a series of patterns, each made up of rows of instructions. Each instruction usually includes note or pitch information, which sample to play and various parameters such as volume, effects - or in the case of some instructions, which position in the song to jump to. In many ways, it’s almost like a programming language for music. Using ProTracker as an example, a typical note cell is 4 bytes, shown on-screen as something like C-2 01 C20. That breaks down into three fields: the note and octave (C-2), the sample number (01), and the effect and its parameter (C20 - in this case, “set the volume to $20”, which is half of the maximum $40). A close-up of Protracker playing a tune. Note the VUmeters - another classic demo effect I would pinch later on! For an impressive demonstration of what’s possible with a tracker and to see what the note data looks like on-screen, check out the work of h0ffman, and in particular his winning “Professional Tracker” entry from the Revision 2014 competition. He’s an undisputed master of the science (or art!) of tracking, and his “Secrets of Protracker” talk gives a great overview of what’s possible. The Amiga’s sound hardware far eclipsed anything else on the market at the time, and the ZX Spectrum is paltry by comparison. The original 48K models only offered a rudimentary “beeper”, but the later 128K models included a 3-channel AY-3-8912 sound chip. This was very popular in 8-bit micros of the time, and a more-or-less identical variant was also used in the Atari ST. While it only offers basic waveforms and sound processing, it does enable multi-channel “chip music”, and so it became the mainstay of the ZX Spectrum demoscene. It also spawned a variety of SoundTracker clones on the Spectrum itself, although most musicians these days prefer to work in modern tools like Vortex Tracker II, which runs natively under Windows. The Conversion Pex looking back on his demos - this starts at the point where he features my letter and plays a bit of my cover version! For my intro, I wanted to port an Amiga module - and I had the perfect one in mind. One of my favourite Amiga music disks was “Sounds Of Gnome”, released in 1989 by the Swedish duo “Mahoney & Kaktus”. Mahoney also wrote NoiseTracker, one of the first really widely used trackers on the Amiga, and the program that served as my teenage introduction to making computer music of my own. Back in 2018 I made a rock cover of one of the other tunes on that disk, and wrote to Mahoney (real name “Pex”) about it. He ended up showing my “music video” at a demo conference, which I am eternally grateful for! So it seemed only fitting that I mangle another song from that collection with a Spectrum conversion… Sorry, guys! I picked the track “Milkman” which was written by “Glue Master”, an associate of Mahoney’s who had a few of his tracks featured on the compilation. It’s an ideal track for converting: It’s short (only 7 patterns in total), most of those patterns share the same chord sequence, and it looked fairly easy to squeeze the original 4 channels down into the Spectrum’s 3. Plus, it’s an incredibly catchy tune and I knew it well - I’ve been listening to it for 35+ years and often jam along to it on guitar or bass. The conversion started off pretty easily: all I really had to do was copy the patterns note-for-note from the Amiga mod, which I had open in OpenMPT as my Windows tracker. Below is a session with both trackers open on the same pattern - the original Amiga mod on the left, and my 3-channel Spectrum conversion on the right. Note the 11.7 in the 3rd channel of the Spectrum version. This is a “pitch slide down” effect in Vortex Tracker syntax, which drops the pitch by about a quarter-tone. It’s repeated on the next line, so the overall effect is a slide down from the A# that leads in to the next bass note. The original Amiga mod does the same thing using its own syntax - those are the 202s you can see on the same notes, at the bottom of the 4th track. Using just a single “beep” sound for everything was enough to check everything was working, and after a few weeks of hacking on it and re-arranging things in the evenings, I had a basic version which sounded surprisingly good for a first draft: Download the MP3 instead. I have to give a special mention to this forum post which was a massive help getting me started. It’s probably the best introduction to Vortex Tracker I’ve found - many, many thanks to the original author for taking the time to write it all up! The real challenge was making it sound as close to the original as possible. That meant building up a library of better-sounding samples for the different parts, and making extensive use of Vortex Tracker’s “ornaments”. Vortex Tracker comes with a great selection of sounds, and fortunately I’m also a weirdo who likes to listen to chiptunes in the background while I work! So whenever I found something particularly enticing, I filed it away for later pilfering inspiration. A Vortex Tracker sample isn’t really a “sample” in the Amiga sense of a recorded sound - it’s a definition of how a note sounds, one line per frame. Each line can mix in a tone or the white noise generator (useful for snare effects and suchlike), along with various other parameters. Ornaments, on the other hand, give you extra control over what pitch a note plays - and this enables really useful tricks like “arpeggio chords”. For example, an ornament of 0,4 makes the channel switch rapidly (25 times a second) between the note being played and the one 4 semitones above it. It happens so quickly that it sounds much like two notes played at the same time, which means you can build up full-sounding triad chords using only two channels. Take the opening chord in my fully converted version, Cm: It plays C in the first channel and the minor 3rd (D#) in the second, then I apply an ornament to the second channel to bring it up 4 semitones to the 5th (G). That gives all three notes of the chord, while keeping the 3rd channel free for other parts. As well as making much more efficient use of the limited 3 channels, this also gives Spectrum music that characteristic “warbling” sound, which I find really appealing in a retro kind of way! Between tricks like this and samples that mix tones with white noise (to make a combined “bass-snare” sound, for example), I managed to condense the full track down to 3 channels. Many months later, I have to say I’m really pleased with the final result. Playback The original site that was home to Vortex Tracker, documentation and other resources appears to be offline at the moment. I managed to grab a copy of everything I needed from archive.org - you’ll want the PTxTools.7z file for the playback routines discussed here. The playback was simple in theory: As this overview notes, you basically just pull in the player routine, include your module file and call the playback routine once per frame in your main loop. The catch is, none of the source code versions supplied in the archive worked with my Pasmo assembler. Fortunately, there is a pre-compiled binary object shipped alongside the source (VTII10bG in the PTxTools/PT3Play directory). This just has to be loaded in at address $C000 - this cannot be changed, as it has lots of absolute addresses baked in. My code to handle module playback now looks something like this, with the binary module loaded in place: ; Define the start address of the player routine and functions we need player EQU $C000 ; hard-coded org address of binary player plinit EQU player+3 ; init function in docs, module address in hl plplay EQU player+5 ; play and move on one frame ; from the docs - this "analyzes PT3 module header and prepares ; corresponding note and volume tables" ld hl,moduleimg call plinit ; main loop hold: halt call plplay call scroll ; other effects / routines go here... jr hold moduleimg: incbin "assets/music.pt3" Starfield Download the video Well, that didn’t work as hoped. TNFStro - tortoise edition. This brings me to the main event. No self-respecting cracktro is complete without a starfield! My first, naive approach to the classic starfield effect was to scatter random stars across the screen, then move down each scan-line applying the same rl trick I’d used for the scroll-text. I figured I could get parallax by shifting each row a different amount: One pixel for the first row, two for the second, three for the third, then back to one again, all the way down the screen to give the impression of several “fields” of stars moving at different speeds. It turned out there were two major problems with that approach. Firstly, shifting an entire row smeared whatever else was on it along with the stars - which I’d expected, and had filed away as a problem for future me. The bigger issue was speed: by the time I’d finished the first three rows I’d already performed hundreds of shift operations, and it was nowhere near fast enough to fit inside a single frame. Everything crawled across the screen, and the music playback slowed down so much that you could actually hear the arpeggio ornaments warbling away as separate notes. Clearly I was going to have to keep track of the individual stars instead. I found this routine, which was more-or-less what I had in mind and started me off with the idea of a structure to hold the state of each star. It also uses a screen address lookup much like the one from “Break Into Program”. Download the video Dammit. Back with another funeral dirge rendition :( That got things moving, but the co-ordinate lookup and tracking proved expensive to do (it has to run for every star, every frame as well as keep track of the old position for erasing) and I’d been ignoring the bigger question how to display stuff on top of the starfield. My original idea was simply to draw the stars and then paint text over them each frame, which blew the frame budget just as comprehensively as my first attempt. If I wanted something more interesting than an empty starfield, I’d have to keep track of which cells were occupied by text and avoid drawing stars in them in the first place, rather than over-painting them every time. After lots of scribbling in my notepad and visualising rows of bits, I eventually solved both challenges by “cheating” fairly liberally. So now, I don’t generate a random starfield at all. Instead, I built a table of pre-calculated Y and X position pairs: stdata: defb 109, 25, 88,182, 42, 96, 155,226 defb 59,254, 137,169, 160, 84, 125,193 ; ... and so on, for 32 stars ... This saves faffing about with an RNG, and once I have a layout that looks good I know it’ll always look good. I can also “fudge” things and ensure no two stars share the same y co-ordinate which sidesteps a whole class of problems like stars sharing a scanline, and having to deal with them overtaking each other. The “random” layout is generated by a simple Ruby script: #!/usr/bin/env ruby PAIRS = 32 PER_LINE = 4 # pairs per line Y_RANGE = 40..175 # exclude rows taken up by my logo & bars X_RANGE = 0..255 raise "y range too small" if Y_RANGE.size < PAIRS # no duplicate y values ys = Y_RANGE.to_a.sample(PAIRS) pairs = ys.map { |y| [y, rand(X_RANGE)] } pairs.each_slice(PER_LINE) do |row| body = row.map { |y, x| format('%3d,%3d,', y, x) }.join(' ') puts "defb #{body.chomp(',')}" end When the routine initialises, I convert those co-ordinate pairs into a table that tracks the state of each star. So rather than storing a position and translating it to a screen address every frame, each of my star records now looks like this (offsets from the base address): STSCR EQU 0 ; screen address of the byte the star is in, e.g. $4123 STOCC EQU 2 ; a pointer to the "occupancy check" table cell STMASK EQU 4 ; the star's bit pattern, e.g. %00010000 STSTEP EQU 5 ; "speed" - num. of pixels this star travels per frame The key thing is that there are no X/Y co-ordinates at all. For each star I store the screen byte it sits in and the bit mask within that byte, so it’s already in the form the screen writes need. That means no address conversion per frame, just simple bit shifting and rotation. Moving a star is then dead simple. I rotate its mask left with rlca, and when the bit rotates out of bit 7, it lands back in bit 0 with the carry flag set. That’s the signal I need to move the star one character cell to the left, which is one of the “cheap moves” from earlier. Because I’m tracking which cell each star is in, the collision check comes almost for free. That’s what the second pointer is for: STOCC (Star Occupancy) moves in step with STSCR through a table holding one byte per character cell. The “typewriter” routine sets a byte to 1 for every cell containing a text character or the cursor, so checking whether a star is hidden behind text is a single or instruction. If the cell is occupied, I skip drawing the star but carry on rotating and stepping it along until it reaches a cell where it can be displayed: ld l,(ix+STOCC) ld h,(ix+STOCC+1) ld a,(hl) ; A = the occupancy check for this cell or a ; test A against zero jr nz,stmove ; it's occupied, so leave the screen alone Parallax is still handled by moving each star a different number of pixels per frame, but the cost is a lot lower this time as I’m only touching the cells the stars actually occupy, rather than every byte of every row. Download the video That’s looking more like it! The typewriter routine is a simple copy of the font data from memory, and is very cheap as we can use the “cheap moves” to quickly fetch the 8x8 block. I also skip drawing any space character so it leaves the “occupancy cell” unmarked. This means the stars keep drifting through the gaps in the text - you can see here the odd star passing in between the words. I switched to ALL CAPS writing for the final version which helps the effect even more as the font is quite blocky, so you don’t really notice stars skipping the spaces inside a glyph at all. Misc Notes A few odds and ends that didn’t warrant a section of their own… VU Meters Some sort of graphic display bouncing along with the audio playback was another common early demo trope. I did originally consider a real-time graphic equaliser, but that would have been far too complex, probably in terms of spare cycles per frame, and definitely in terms of my limited mental capacity at this point! So I settled for a simple set of bouncing meter bars instead. It’s worth a mention mostly because it gives me an excuse to link to the awesome chibiakumas website! I just love the late 90s web design on display - one can argue that readability and accessibility take a hit, but it’s just so much fun to encounter a site that still looks like this. It’s a clear labour of love and there’s a wealth of content there as well, if your eyeballs are up to it. Their guide on Making Sound with the AY-3-8910 was what showed me how to get the data I needed to draw the meter bars. The examples write a register number to $FFFD to select a register, and I realised that once a register is selected, I could use the in instruction to read its value back out instead of writing a new one. As the page says, R8, R9 and R10 hold the channel amplitudes, so they feed nicely into the height parameter for drawing a bar. Getting the amplitude for channel A is then as simple as: ld a,8 ; Channel A register call ayread ; ... rest of code here ... ayread: ld bc,$FFFD ; Register select port out (c),a in a,(c) ret Twinkle, Twinkle, Little Star This is a simple effect that makes the header logo a little more interesting. I’m not sure where I originally got the idea - I’ve definitely seen something like it on a few late 80s/early 90s demos, though. All I wanted was to pick random star dots in the logo background and animate them. Here’s the header image loaded in ZXPaintbrush with the character cell grid showing. By happy chance, there are four stars which each sit neatly inside a single character cell with enough surrounding space, so they can be used to give an animated “twinkle” effect by drawing a cross out from the centre point and back in again. These dots map to the following co-ordinates, which target the top scanline of each fully-grown star (two pixels up from the centre): twkdata: defb 1,5 ; char row 0, col 5, centre y=3 ink 5 defb 1,20 ; char row 0, col 20, centre y=3 ink 1 bright defb 26,7 ; char row 3, col 7, centre y=4 ink 4 defb 25,22 ; char row 3, col 22, centre y=3 ink 6 bright The “twinkle” routine itself is simple enough: it adds a pixel on either axis to grow the star, waits a few frames, then shrinks it back down again. The interesting bit was how I made the twinkle order pseudo-random. Remember that my starfield was entirely pre-calculated from a data table generated by a Ruby script, which meant I’d never actually needed a random number generator in assembly. From Jonathan Cauldwell’s “How To Write Spectrum Games” e-book, I found another great “hack” which simply walks through the start of the Spectrum’s ROM, picking out random-looking bytes as it goes. As he says, he uses it in most of his games, and it does the job in a really simple way - as long as you stay below the block of structured, repeating data that sits 8Kb into the ROM. twkrand: push hl ld hl,(twkseed) ld a,h and 31 ; keep it within the first 8k of ROM ld h,a ld a,(hl) ; the "random" byte inc hl ld (twkseed),hl pop hl ret Out Of Space About halfway through writing the intro, I hit a fairly predictable problem: I had run out of memory. In an attempt to keep everything self-contained in one block of code, I was pulling all of the assets (the screen background, the player binary, the music file etc.) into the program itself, and then using the ldir block copy instruction to move each one into its correct location. Since that meant effectively storing every block twice, and the player routine had a hard-coded start address of $C000, I quickly ran out of room and my code started crashing into the playback routine. The simplest option was to split things out into separate code blocks, load each one directly to the address it needed to live at, and wrap the lot in a multi-stage BASIC tape loader: 10 CLEAR 32767 20 BORDER 0: PAPER 0: INK 0: CLS 30 LOAD "" CODE 40 LOAD "" CODE 50 LOAD "" CODE 60 RANDOMIZE USR 32768 This loads the main program, then the player routine directly into $C000, and finally the background screen straight into screen memory. It does mean the background starts appearing before the demo has fully loaded, but as I imagine most people will be seeing this running in an emulator or on my TNFS site, it doesn’t really matter. Plus, at this point I was in danger of disappearing down yet more rabbit holes (I still really want to work out how to do multi-colour border effects!) and I’d never have got this thing released. The Zen Of Z80 This whole project is a really weird one to look back at. On the one hand, I’ve fulfilled a childhood ambition and have something I’m very proud of. It’s also pretty unusual these days to end up with a binary where you can say pretty much what every single byte is doing and the story of how it got there. But on the other hand - I now have an answer for why I don’t code in assembly: It’s because I value (what’s left) of my sanity! The thing is, in order to write code like this you have to start thinking like the machine itself. You have to visualise the registers and the status flags flapping away, graphics as lines of bits slotted into strange orders, loops and conditionals as binary logic and so on. Getting this close to the hardware definitely brought about a greater sense of attachment to the hardware of my childhood, and it’s easy to see why assembly coders and sceners get so passionate about it. That said, I’m in no hurry to start re-writing my body of work in assembly! The projects I really enjoy are those that give me an excuse to learn something for the sheer hell of it, and to slow down a little from the ever-increasing velocity and demands of the modern work world. Going back to Z80 code is probably about the furthest I could have taken this, short of going into hardware hacking. I found it at times an intriguing puzzle, often a frustrating exercise that nearly had me throwing in the towel at several stages. This project has certainly taken the longest to go from the “idea” stage of any given feature to any kind of meaningful output. True, I didn’t spend every day of the last year working on it - my actual coding time was probably only a few hours over a couple of evenings a week. But I’ve certainly been thinking about it and pondering it most days (as my dogs will attest). The biggest breakthroughs and “aha!” moments usually didn’t come from behind the keyboard; they came from scribbles in my notebook and thinking about processor states while doing something unrelated. It has however given me massive appreciation and respect for the coders who pull this stuff off and make it look easy. And that goes double for those kids and bedroom coding superstars who managed all of this back in the 80s, and had to work it all out by experiment themselves. I only managed to get this far because of numerous books, online tutorials, GitHub repositories with sample code, YouTube videos… I can’t imagine how much longer this would have all taken me if the only resources I had were my Spectrum, a cassette tape recorder and a notepad. So, as I draw a line under this project - for now! - I raise a glass, and in the words of h0ffman: “Shout out to the hackers, graphicians and protrackers.”
A decade ago, a little bit of history was made. I didn't realize it, but a colleague made a great point, one of those real mind-changing points that seem too obvious to admit same-day. But, the next day, calver.org was born. At the time my team maintained the Python infrastructure for eBay and PayPal, and we were stuck deciding whether we were really ready for a "major" 1.0 release. Semantic Versioning was the only game in town and "major" means "big", right?! Thankfully, a wiser colleague mentioned: Ubuntu and Twisted don't struggle with version number debates. They slap a date on it and keep shipping. In fact, their date-based versions were even better because you always knew where it stood, in terms of updatedness and support. The only problem is that no one really knew about it. Somehow, this problem solving versioning alternative, arguably as old as history itself, had gone nameless for millenia, conspiring to make me feel foolish in an office meeting. Never again! Ten years of adoption Fast forward 10 years, we've seen CalVer adopted by Apple, Nvidia, JetBrains, and countless others. (We have a timeline!) The site may have more inbound links than any other project of mine. Apple made the biggest jump, at WWDC 2025: iOS went from 18 to 26 macOS from 15 to 26 watchOS from 11 to 26 and visionOS from 2 to 26 All landing on one, consistent number like a car's model year. I still remember the texts from the Venn diagram fanbase of my friends who love Apple and reasonable versioning. No such texts from when NVIDIA announced calendar versions across the GPU Operator, RAPIDS, and its monthly NGC containers, but still very cool. Open source, too: Home Assistant, pip, CockroachDB, and yt-dlp all ship on dates, with plenty more on the users page. The conversation even reached the language core; PEP 2026 proposed versioning CPython as 3.YY, and it almost happened, too. And it's never too late, time marches on! Fixing the notation But I don't think I got every detail right from day 1. That's the main motivator for CalVer 26. It's high time to start righting a couple idiosyncratic token design choices, starting with some additions: Meaning Before 26.0 26.0 Full year YYYY YYYY Short year (6, 16) YY YY Zero-padded year (06, 16) 0Y 0Y Short month (1 ... 12) MM M Zero-padded month (01 ... 12) 0M 0M Short week (1 ... 52) WW W Zero-padded week (01 ... 52) 0W 0W Short day (1 ... 31) DD D Zero-padded day (01 ... 31) 0D 0D Seeing double First, the doubled letters. From the first version (16.6), MM and DD meant the unpadded month and day, which reads backwards to anyone who knows date formats (ISO 8601's YYYY-MM-DD, Java, moment.js, day.js), as some community members correctly pointed out. I was ready to flip them, until I checked what people actually use: most projects with a YY.MM.MICRO badge (conda, Twisted, Ansible's tooling) don't pad, and more than a dozen other version management tools (like bumpver and bump-my-version) implement the old meaning. So, it's too late to flip MM's meaning. Instead, 26.0 deprecates it and offers a more explicit and hopefully clearer option: M is the short month, 0M the padded one, and MM is a technically-retired synonym for M. In case you're wondering, the explicit 0M was me being overinspired by Ubuntu's approach, perhaps: 6.06 pads its month but not its year, and YY.0M says exactly that. To pad or not to pad I think it's worth a detour into why padding is even a thing anyways. It's become important now that new ecosystems have emerged that enforced SemVer formatting semantics, and I wanted clear guidance about on the spec site. SemVer forbids leading zeros outright, so Cargo rejects 26.04.0 and Go modules reject v26.04.0. Even Python's packaging spec normalizes leading zeros away, so you can tag 2026.08.19 if you want, but PyPI will still show 2026.8.19. NVIDIA's GPU Operator docs put it this way: "Zero padding is omitted for month to be still compatible with semantic versioning." CalVer was always intended to drop in where SemVer was used. So 26.0 recommends unpadded (YYYY.M.D) as a sane "pure" default for software libraries. But libraries are not the only objects of versioning schemes. The exception is a version that becomes a filename, an image tag, or an object-store key that gets listed lexically. There, padding keeps 26.10 sorted after 26.09, which is why Ubuntu, NixOS, and NVIDIA's own NGC containers pad. More evidence of teams designing their versions. We love to see it. Our FAQ has a longer discussion of the padding issue, as well. Optional segments There was never any rule against them, but 26.0 makes optional trailing segments more explicit with square brackets. Now, yt-dlp's scheme can finally be written down: YYYY.0M.0D[.MICRO]. For the CalVer badges I could find on GitHub, they all stay valid for now. I've got a note on the deprecated spellings and a new copy-paste badge section for new ones. What else is new? It's always a great time to add more citations to the site. A spec changelog; the spec now versions itself: 16.6, 19.7, 26.0. A FAQ: breaking changes, same-day releases, and padding. The users page, rebuilt by category, with past users of note (schemes change; that's fine) and tooling. Case studies: Apple and NVIDIA in, yt-dlp replacing youtube-dl. Much of the thinking behind these changes happened in the GitHub issue tracker over the years, and 19 or so issues close with this release. That's where ideas for CalVer should go, so by all means, open an issue, and we'll get it sorted! In due time, of course. In closing, I can't believe I still love belaboring these numbers so much. Thanks to all (but especially Mark, Glyph, Hugo, issue reporters, translators, and maintainers) for the discussion, and ultimately making the most timely versioning system a timeless classic. See also 2016 announcement Designing a version My Yap on Why CalVer beats Semver
Four sincere attempts at OKRs, four failures, and every time: "you didn't do it right." Maybe the framework doesn't fit you -- so how do you find one that does?
Multiple concurrent writers. Multiple processes. Same SQLite. No modifications.
Brilliant jerks, ZIRP-era managers, and how psychological safety lost the plot. Part 3 of my conversation with Dr. Cat Hicks.
