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audio_sequence

Compose multiple timed audio events—tones, presets, and whooshes—into a layered WAV track at specified start times and durations.

Instructions

Compose multiple audio events into a timed sequence.

Creates a layered audio track from multiple timed sound events.

Args: sequence: List of audio events, each with: - type: "tone", "preset", or "whoosh" - at: Start time in seconds - duration: Event duration in seconds - freq/frequency: For tones (Hz) - name: For presets (preset name) - volume: 0-1 amplitude - waveform: For tones (sine, square, etc.) output_path: Absolute path for the output WAV file.

Returns: Dict with success status and output_path.

Input Schema

NameRequiredDescriptionDefault
sequenceYes
overwriteNoExplicitly allow replacing existing media. Existing non-media files are protected.
output_pathYes

Output Schema

NameRequiredDescriptionDefault

No arguments

Schema Changelog

Changes observed during successful MCP inspections.

  1. Changed1 schema field changedv1.16.4
    • addedInput schema / properties / overwrite
      Added value: +{
      +  "default": false,
      +  "description": "Explicitly allow replacing existing media. Existing non-media files are protected.",
      +  "title": "Overwrite",
      +  "type": "boolean"
      +}
  2. Changed1 schema field changedv1.16.0
    • addedInput schema / additionalProperties
      Added value: +false
  3. Addedv1.5.1

TDQS

B3.3/5.0
Behavior3/5

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

With no annotations, the description carries the full behavioral burden. It does disclose that the tool writes a WAV file to an absolute path and returns a success dict, which is real behavioral value. However, it says nothing about what happens to existing files at that path (the 'overwrite' flag exists in the schema but the description never explains the default-deny behavior the schema implies), nor about failure modes or cost of large sequences.

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?

Front-loaded with the operation, then a scannable Args/Returns breakdown that earns its space for a nested-array parameter. The only waste is the second sentence, which restates the first ('layered audio track from multiple timed sound events' vs 'compose multiple audio events into a timed sequence').

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

Completeness3/5

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

For a 3-parameter write tool with an output schema (so return values need not be explained) and no annotations, the event schema is well specified. Missing pieces that an agent would want: overwrite/refusal behavior on existing files, what happens with overlapping events, and why this exists alongside audio_compose and audio_synthesize.

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

Parameters4/5

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

Schema coverage is only 33%, so the description must compensate, and it largely does: it fully enumerates the sequence item fields (type, at, duration, freq/frequency, name, volume, waveform) that the schema leaves as an opaque object with additionalProperties. It also clarifies output_path must be absolute and WAV. It does not explain the substantive 'overwrite' parameter, which is the one parameter the schema actually documents, so the gap is mostly covered elsewhere.

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

Purpose4/5

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

States a specific verb and resource: 'Compose multiple audio events into a timed sequence' and 'Creates a layered audio track from multiple timed sound events.' That is clear enough to know it builds a timed multi-event audio file, but it offers no differentiation from the many audio siblings (audio_compose, audio_synthesize, audio_preset, video_audio_bed) whose names suggest overlapping territory.

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

Usage Guidelines2/5

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

There is no statement of when to use this tool versus audio_compose, audio_synthesize, audio_preset, or the sound_mix_render family, all of which could plausibly be selected for audio creation. No prerequisites, no exclusions, no context beyond the mechanics of the call itself.

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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