docs(plans): fix pre-existing oxfmt formatting drift in audio-fx-presets

Blocks the regression workflow's required preflight gate.

Co-Authored-By: Claude Sonnet 5 <noreply@anthropic.com>

Author: vanceingalls

plans/audio-fx-presets.md

@@ -31,13 +31,13 @@ to keep clearing.
 
 ### What already exists, so this does not duplicate it
 
-- **`skills/hyperframes-audio`** teaches the effect *families* and when to
+- **`skills/hyperframes-audio`** teaches the effect _families_ and when to
   reach for each ("Reach for a family by the problem, not the name"), and
   documents carve. It contains **no recipes and no named looks** — it explains
   the why, and stops short of the one-click. This catalog is the complement,
   not a rewrite. It also already fixes the canonical order this doc adopts:
-  *"corrective filtering goes early, character in the middle, and a limiter
-  last."*
+  _"corrective filtering goes early, character in the middle, and a limiter
+  last."_
 - **`carveBandsToChain()`** already proves the mechanism: an analysis produces
   an ordinary `HfAudioFxChain`, which the rack then owns like any other.
 - **Demand is real and internal.** Cortex carries user asks for
@@ -65,7 +65,7 @@ them with this effect set. Any catalog that quietly implies otherwise is lying.
 
 Premiere Pro's **Essential Sound** panel is the closest analogue to what is
 being asked for, and it is the design worth stealing. The author tags a clip by
-*what it is* — Dialogue, Music, SFX, Ambience — and then gets a small set of
+_what it is_ — Dialogue, Music, SFX, Ambience — and then gets a small set of
 outcome-named controls rather than effects:
 
 - **Loudness**, with an Auto-Match that normalises to a broadcast target
@@ -94,17 +94,17 @@ ring mod. Out of scope unless a new effect is added.
 
 ## 3. What our 15 effects reach
 
-| Family | Effects | Reaches |
-| --- | --- | --- |
-| Filter | `highpass` `lowpass` `peaking` `lowshelf` `highshelf` | tone shaping, band isolation, rumble/mud removal, presence |
-| Dynamics | `gain` `compressor` `limiter` `gate` | levelling, consistency, ceilings, room-tone gating |
-| Nonlinear | `saturate` `bitcrush` | warmth, grit, distortion, digital degradation |
-| Time | `delay` `reverb` `chorus` `phaser` | space, slap, width, wow/flutter, movement |
+| Family    | Effects                                               | Reaches                                                    |
+| --------- | ----------------------------------------------------- | ---------------------------------------------------------- |
+| Filter    | `highpass` `lowpass` `peaking` `lowshelf` `highshelf` | tone shaping, band isolation, rumble/mud removal, presence |
+| Dynamics  | `gain` `compressor` `limiter` `gate`                  | levelling, consistency, ceilings, room-tone gating         |
+| Nonlinear | `saturate` `bitcrush`                                 | warmth, grit, distortion, digital degradation              |
+| Time      | `delay` `reverb` `chorus` `phaser`                    | space, slap, width, wow/flutter, movement                  |
 
 Plus two force multipliers the catalog depends on:
 
 - **Automation lanes** on `gain` and on most effect parameters — so a preset can
-  be a *moving* treatment, not just a static one.
+  be a _moving_ treatment, not just a static one.
 - **Offline analysis** (`powerSpectrum`, `windowDb`, `analyseCarveDynamics`,
   `analyseCarveDuck`) already runs in the panel over decoded audio. This is what
   makes the adaptive tier possible without new machinery.
@@ -133,13 +133,13 @@ The carve pattern: read the decoded samples, measure something, emit a chain
 and/or automation lanes. **The machinery for this is already built and shipped**
 — what carve does with a voice against a bed generalises:
 
-| Script | Reuses | Emits |
-| --- | --- | --- |
-| Voice carve *(shipped)* | `analyseCarveBands` | peaking cuts + per-band lanes |
-| Auto-duck *(shipped, inside carve)* | `analyseCarveDuck` | one volume lane |
-| De-esser | `analyseCarveDynamics`, re-parameterised (see §5e) | lane on a peaking cut |
-| Leveller | `windowDb` walk | lane on a `gain` node |
-| Tone match | `powerSpectrum` vs a target curve | 3–5 peaking nodes |
+| Script                              | Reuses                                             | Emits                         |
+| ----------------------------------- | -------------------------------------------------- | ----------------------------- |
+| Voice carve _(shipped)_             | `analyseCarveBands`                                | peaking cuts + per-band lanes |
+| Auto-duck _(shipped, inside carve)_ | `analyseCarveDuck`                                 | one volume lane               |
+| De-esser                            | `analyseCarveDynamics`, re-parameterised (see §5e) | lane on a peaking cut         |
+| Leveller                            | `windowDb` walk                                    | lane on a `gain` node         |
+| Tone match                          | `powerSpectrum` vs a target curve                  | 3–5 peaking nodes             |
 
 This is the strongest argument in the doc: **none of them needs new DSP** —
 only a different question asked of code that already runs. One (de-ess) needs
@@ -157,6 +157,7 @@ presence EQ → saturation → limiter last.**
 
 **`voice-clean` — "Clean Voice"** · the safe default, roughly Premiere's
 Dialogue preset
+
 ```
 highpass   frequency 80    q 0.707  poles 2
 peaking    frequency 250   gain -3   q 1.2      (mud)
@@ -166,6 +167,7 @@ limiter    limit -1  attack 5  release 50
 ```
 
 **`voice-broadcast` — "Broadcast"** · denser, more forward
+
 ```
 highpass   frequency 90    q 0.707  poles 2
 peaking    frequency 400   gain -3   q 1.4
@@ -177,6 +179,7 @@ limiter    limit -1  attack 5  release 60
 ```
 
 **`voice-warm` — "Close & Warm"** · intimate, less processed
+
 ```
 highpass   frequency 70    q 0.707  poles 2
 lowshelf   frequency 180   gain +2
@@ -191,7 +194,7 @@ consonant intelligibility sits around 2–4 kHz.
 
 ### 5b. Repair — honestly named (static)
 
-These are the *reachable half* of Premiere's Repair section. The names must not
+These are the _reachable half_ of Premiere's Repair section. The names must not
 promise noise removal.
 
 **`rumble-cut` — "Cut Rumble"** — `highpass` 100 Hz, poles 2. Two stacked nodes
@@ -210,13 +213,15 @@ and broad on purpose; sibilance proper is a script (§5e), not a fixed cut.
 ### 5c. Character (static)
 
 **`telephone` — "Telephone"** · the researched 300–3400 Hz band, steepened
+
 ```
 highpass   frequency 300   q 0.707  poles 2   ×2 stacked  (24 dB/oct)
 lowpass    frequency 3400  q 0.707  poles 2   ×2 stacked
 peaking    frequency 1200  gain +6  q 1.2                 (the "honk")
 peaking    frequency 550   gain -4  q 1.0                 (de-mud)
 saturate   type tanh  threshold -18  output -2            (circuit colour)
 ```
+
 The registry maxes at 12 dB/oct per node (`poles: "2"`), so the classic
 24 dB/oct skirts need **two stacked nodes each**. Worth encoding once here
 rather than having every author rediscover it.
@@ -249,14 +254,14 @@ fake wow and flutter, which is a genuinely nice use of an effect we have.
 
 ### 5e. Adaptive scripts
 
-**`de-ess` — "Soften Sibilance"** — *must be a script, not a preset.* A fixed
+**`de-ess` — "Soften Sibilance"** — _must be a script, not a preset._ A fixed
 −6 dB at 7 kHz dulls the whole voice; a de-esser only acts when sibilance is
 present. Run the carve pattern against the track's own 5–8 kHz band and emit a
 `peaking` node at the measured centre with a **lane on its gain** that dips only
 during sibilant windows. Sibilance centres around 5–6 kHz for lower voices,
 7–8 kHz for higher — measure it rather than assuming.
 
-`analyseCarveDynamics` cannot be reused *unchanged* here, and this is the one
+`analyseCarveDynamics` cannot be reused _unchanged_ here, and this is the one
 place in §5e that needs work rather than a new caller. Its hop is
 `max(FRAME, length / POINT_BUDGET)` — 85 ms at best and ~150 ms on a
 real-length track — while sibilants are 50–150 ms events, so at that resolution
@@ -302,29 +307,29 @@ The rack is drawn as the signal path it is: numbered nodes on a dashed spine
 running from an `IN` terminal to an `OUT`, leader-dotted dimension lines,
 three-letter stage tags, family colour restricted to the node ring and the tag.
 
-**Why it won over the louder options:** it is the only one that *adds
-information*. Chain order is load-bearing — a limiter first and a limiter last
+**Why it won over the louder options:** it is the only one that _adds
+information_. Chain order is load-bearing — a limiter first and a limiter last
 are different sounds — and nothing in the panel communicated it. It is also the
 quietest, which matters on a surface authors stare at while mixing.
 
 **What the drawing carries that the current rack cannot say:**
 
-| Drawn as | Instead of |
-| --- | --- |
-| `IN` names the source, `OUT` names the destination and the FX tail | nothing — the tail was invisible |
-| Numbered nodes 01…06 | implicit top-to-bottom order |
-| Bypassed node: ring drawn open, wire beside it solid and unbroken | a row at 50% opacity |
-| Preset nodes gathered under a right-hand brace with its name | no grouping at all |
-| An automated parameter's value reads **live at the playhead** and ticks while the transport runs, marked `~` | the stale seed the lane already replaced |
-| A measuring module gets a second ring | nothing distinguishes carve from a hand-set chain |
+| Drawn as                                                                                                     | Instead of                                        |
+| ------------------------------------------------------------------------------------------------------------ | ------------------------------------------------- |
+| `IN` names the source, `OUT` names the destination and the FX tail                                           | nothing — the tail was invisible                  |
+| Numbered nodes 01…06                                                                                         | implicit top-to-bottom order                      |
+| Bypassed node: ring drawn open, wire beside it solid and unbroken                                            | a row at 50% opacity                              |
+| Preset nodes gathered under a right-hand brace with its name                                                 | no grouping at all                                |
+| An automated parameter's value reads **live at the playhead** and ticks while the transport runs, marked `~` | the stale seed the lane already replaced          |
+| A measuring module gets a second ring                                                                        | nothing distinguishes carve from a hand-set chain |
 
 That last pair is the static-versus-script distinction from §4, delivered as
 drawing rather than documentation.
 
 **Automated parameters show numbers, not shapes.** An earlier pass drew each
 lane's envelope inside the module; that was dropped. The lane already has a home
 in the timeline, and a second small drawing of it in the rack is decoration —
-what the rack is missing is the *current* value. The panel already receives it:
+what the rack is missing is the _current_ value. The panel already receives it:
 `FxSectionProps.liveAutomationValues` exists precisely because "an automated
 parameter's stored number is only the seed the lane replaced, so a rack that
 shows it stands still while the carve is audibly working". So the row is an
@@ -347,13 +352,13 @@ forcing each direction to find another answer is what separated them.
 **Family hues**, chosen to sit on `#0C0C0E` without competing with the studio's
 `#3CE6AC` accent:
 
-| Family | Hue | Why |
-| --- | --- | --- |
-| Filter | `#4FA8FF` | the measuring family |
-| Dynamics | `#FFB443` | grips the signal |
-| Nonlinear | `#FF6B5C` | the only generative family |
-| Time | `#B98CFF` | atmosphere, not control |
-| Smart | `#3CE6AC` | the studio's own accent — reserved for modules that act on their own |
+| Family    | Hue       | Why                                                                  |
+| --------- | --------- | -------------------------------------------------------------------- |
+| Filter    | `#4FA8FF` | the measuring family                                                 |
+| Dynamics  | `#FFB443` | grips the signal                                                     |
+| Nonlinear | `#FF6B5C` | the only generative family                                           |
+| Time      | `#B98CFF` | atmosphere, not control                                              |
+| Smart     | `#3CE6AC` | the studio's own accent — reserved for modules that act on their own |
 
 **This needs almost no new plumbing.** `group` is already on every effect in the
 registry, so hue and lettering are derived, not hand-assigned. And every module
@@ -368,7 +373,7 @@ and starts reading as a collage on a surface authors stare at while mixing.
 
 **Preset menu**: grouped by the same families, so the colour picked in the menu
 is the colour that appears in the rack. Each row carries the number of modules
-it drops in — which quietly teaches that a preset *is* a chain. Smart entries
+it drops in — which quietly teaches that a preset _is_ a chain. Smart entries
 say "measures" instead of a count, which is the entire static-vs-adaptive
 distinction delivered in one word.
 
@@ -386,12 +391,12 @@ Mirror colour grading, because the author already understands that surface.
 
 ```ts
 export interface HfAudioFxPreset {
-  id: string;                    // "telephone"
-  label: string;                 // "Telephone"
+  id: string; // "telephone"
+  label: string; // "Telephone"
   family: "voice" | "repair" | "character" | "space";
-  description: string;           // one line, in the author's language
-  chain: HfAudioFxChain;         // an ordinary chain — nothing special
-  automation?: HfAutomation;     // for presets that move
+  description: string; // one line, in the author's language
+  chain: HfAudioFxChain; // an ordinary chain — nothing special
+  automation?: HfAutomation; // for presets that move
 }
 ```
 
@@ -408,7 +413,7 @@ Four notes:
    `mix` parameter, which is the natural hook if intensity is wanted later —
    note it, don't build it.
 4. **Scripts need a separate registry** with an `analyse(samples, sampleRate) →
-   { chain, automation }` contract, because they cannot be static data. Carve is
+{ chain, automation }` contract, because they cannot be static data. Carve is
    the reference implementation.
 
 ### Two things that will otherwise be filed as bugs
@@ -459,9 +464,10 @@ Internal: `wiki/decisions/vst-studio-integration-cancelled.md`;
 [voice loudness and gain boosting](https://heygen.slack.com/archives/C07BR8QRE4T/p1769062551169729).
 
 External:
+
 - [Adobe Podcast Enhance Speech guide](https://thepodcastconsultant.com/blog/adobe-podcast-enhance) and [Adobe vs Descript shootout](https://thepodcasthaven.com/adobe-speech-enhancement-vs-descript-studio-sound-a-shootout/) — Tier 1 boundary
 - [Premiere Pro Essential Sound panel guide](https://josephnilo.com/blog/the-ultimate-guide-to-the-premiere-pro-essential-sound-panel/) and [Envato's dialogue walkthrough](https://photography.tutsplus.com/articles/how-to-use-the-essential-sound-panel-to-edit-dialogue-in-premiere-pro--cms-41936) — the intent-panel model
 - [Rode's podcast processing guide](https://rode.com/en-us/about/news-info/a-guide-to-audio-processing-and-fx-for-podcasting), [Podigy on podcast EQ](https://www.podigy.co/podcasters-eq) and [iZotope on de-essing](https://www.izotope.com/en/learn/the-dos-and-donts-of-de-essing.html) — voice chain values and sibilance ranges
-- [CapCut voice filters](https://www.capcut.com/tools/voice-filters) and [its full effect list](https://irda27987s-random-pages.fandom.com/wiki/All_Voice_Filters_and_Voice_Characters_in_App!_(Capcut)) — Tier 3 vocabulary
+- [CapCut voice filters](https://www.capcut.com/tools/voice-filters) and [its full effect list](<https://irda27987s-random-pages.fandom.com/wiki/All_Voice_Filters_and_Voice_Characters_in_App!_(Capcut)>) — Tier 3 vocabulary
 - [Telephone effect settings](https://voxbooster.com/blog/telephone-voice-effect-online/) and [Audiotent's walkthrough](https://www.audiotent.com/blogs/production-tips/create-telephone-vocal-effect) — the 300–3400 Hz band and its refinements
 - [LUFS targets per platform 2026](https://www.forasoft.com/learn/audio-for-video/articles-audio/lufs-targets-per-platform-2026) and [podcast loudness standards](https://sone.app/blog/podcast-loudness-standards-2026-spotify-apple-youtube) — why `level-out` must not claim LUFS