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mcp_opendaw_double_melody

Double a melody at a parallel interval to thicken or harmonize it, using named intervals or diatonic scale-degree offsets. Supports same-region thickening or cross-track layering.

Instructions

Double a melody at a parallel interval — thickening and harmonization.

Creates a copy of every note in the region shifted by the specified interval. Unlike copy_notes_to_track (chromatic transpose only), this supports named musical intervals and diatonic transposition (stays in key).

Same-region doubling (dest_track_index=-1) thickens the melody in place. Cross-track doubling (dest_track_index set) creates a separate layer — useful for assigning a different instrument to the doubled line.

Intervals (chromatic mode):

  • octave: +12 semitones (classic doubling)

  • double_octave: +24 semitones (organ/pipe effect)

  • fifth: +7 semitones (power chord, open sound)

  • fourth: +5 semitones (suspended, ambiguous)

  • third: +4 semitones (major third — use diatonic for correct quality)

  • sixth: +9 semitones (wide, romantic)

  • unison: +0 semitones (thickening only, velocity difference)

Diatonic mode (diatonic=True): Uses scale-degree offsets instead of fixed semitones. A diatonic third in C major is +2 scale steps (C→E, D→F, E→G), producing the correct quality (major or minor third) depending on the scale degree. Requires root+scale.

velocity_scale: Doubled line velocity (0.8 = slightly quieter, classic). time_offset: Delay the doubled line (0 = parallel, 0.25 = slight delay).

unit_index: Source AU index. track_index: Source note track index. interval: Named interval (octave/double_octave/fifth/fourth/third/sixth/unison). region_index: Source region (-1 = first region). diatonic: If True, use scale-degree offset (requires root+scale). root: Scale root note (C, C#, D, ... B). scale: Scale name (major, minor, dorian, phrygian, etc.). velocity_scale: Velocity multiplier for doubled notes (0-2). dest_track_index: Destination track (-1 = same region, thickening in place). dest_unit_index: Destination AU (-1 = same as source). time_offset: Beat offset for doubled notes (0 = parallel).

Returns count of notes doubled.

Example:

Octave doubling — thickens melody in place

double_melody(0, 3, "octave", velocity_scale=0.7)

Diatonic thirds on separate track — classic harmony

double_melody(0, 3, "third", diatonic=True, root="C", scale="major", dest_track_index=4, velocity_scale=0.8)

Power-chord doubling

double_melody(0, 3, "fifth", velocity_scale=0.9)

Input Schema

TableJSON Schema
NameRequiredDescriptionDefault
rootNoC
scaleNomajor
diatonicNo
intervalNooctave
unit_indexYes
time_offsetNo
track_indexYes
region_indexNo
velocity_scaleNo
dest_unit_indexNo
dest_track_indexNo

Output Schema

TableJSON Schema
NameRequiredDescriptionDefault
resultYes
Behavior4/5

Does the description disclose side effects, auth requirements, rate limits, or destructive behavior?

No annotations are provided, so the description carries full burden. It clearly states what the tool does: creates a copy of every note shifted by an interval, and describes the behavior for chromatic and diatonic modes, return value (count of notes doubled). It does not explicitly state that it modifies existing notes (destructive) or if it requires a selected region, but the overall behavior is well explained. A small gap: no mention of prerequisites (e.g., track must exist) or side effects.

Agents need to know what a tool does to the world before calling it. Descriptions should go beyond structured annotations to explain consequences.

Conciseness4/5

Is the description appropriately sized, front-loaded, and free of redundancy?

The description is fairly long but well-structured: it starts with a one-line purpose, then contrasts with sibling, explains mode options, lists interval definitions with musical context, and ends with example use cases. It could be slightly shorter by omitting some interval details that might be redundant for experienced users, but overall it is efficient and well-organized.

Shorter descriptions cost fewer tokens and are easier for agents to parse. Every sentence should earn its place.

Completeness5/5

Given the tool's complexity, does the description cover enough for an agent to succeed on first attempt?

Given 11 parameters, no annotations, and an output schema (present), the description covers all essential information: what the tool does, when to use it, how each parameter works, and example invocations. It provides enough context for an AI agent to select and invoke the tool correctly, including clarification of edge cases (same-region vs cross-track, diatonic mode requirements).

Complex tools with many parameters or behaviors need more documentation. Simple tools need less. This dimension scales expectations accordingly.

Parameters5/5

Does the description clarify parameter syntax, constraints, interactions, or defaults beyond what the schema provides?

Schema description coverage is 0% (no descriptions in the input schema parameters). The description compensates fully by explaining each parameter in detail: interval options with musical context, diatonic mode requirements, velocity_scale, time_offset, unit_index, track_index, etc. It adds substantial meaning beyond the raw schema.

Input schemas describe structure but not intent. Descriptions should explain non-obvious parameter relationships and valid value ranges.

Purpose5/5

Does the description clearly state what the tool does and how it differs from similar tools?

The description begins with a clear action verb and resource: 'Double a melody at a parallel interval — thickening and harmonization.' It explicitly contrasts with the sibling tool copy_notes_to_track by highlighting support for named intervals and diatonic transposition, making the purpose distinct and unambiguous.

Agents choose between tools based on descriptions. A clear purpose with a specific verb and resource helps agents select the right tool.

Usage Guidelines5/5

Does the description explain when to use this tool, when not to, or what alternatives exist?

The description provides explicit guidance on when to use this tool versus alternative: 'Unlike copy_notes_to_track (chromatic transpose only), this supports named musical intervals and diatonic transposition (stays in key).' It further explains two distinct use cases (same-region vs cross-track) and includes concrete examples for octave doubling, diatonic thirds, and power-chord doubling, leaving no ambiguity about usage.

Agents often have multiple tools that could apply. Explicit usage guidance like "use X instead of Y when Z" prevents misuse.

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