import { ReproducingSystem } from "../ReproducingSystem.js";
import { type WelteT100Options } from "../welteT100/system.js";
/**
 * The Licensee takes the options of the T-100, whose mechanism it
 * shares; see `WelteOptions`.
 * @category Systems and emulation
 */
export type WelteLicenseeOptions = WelteT100Options;
/**
 * The one instrument on offer, and it is not a Licensee instrument.
 *
 * These are the T-100 consensus constants, fitted across the hand-drawn
 * nuance lines of six rolls played on Freiburg instruments. Nothing here was
 * measured on a Licensee: no Licensee roll is known to carry a drawn line, no
 * Licensee instrument has been fitted, and the published prior art does not
 * agree with itself — the same 186 ms is a part stroke in midi2exp and a whole
 * stroke in pianolatron, a factor of 2.2.
 *
 * So a Licensee playback is a Freiburg reading of American paper, and the
 * union has one arm to keep that visible. Nothing should be published from it.
 * @category Systems and emulation
 */
export declare const instruments: {
    unfitted: {
        'welte-t100-consensus': import("welte-mignon-emulator/t100").Instrument;
    };
};
/**
 * The one instrument on offer for the Licensee by name: the T-100
 * consensus, named as unfitted.
 * @category Systems and emulation
 */
export type WelteLicenseeInstrumentName = {
    unfitted: 'welte-t100-consensus';
};
/**
 * The names of the instruments on offer for the Licensee, of which
 * there is one.
 * @category Systems and emulation
 */
export declare const instrumentNames: readonly WelteLicenseeInstrumentName[];
/**
 * Welte's own spool is carried over with the constants. Phillips (p. 181) says
 * Licensee rolls "play at a range of paper speeds", so there is no one figure
 * to put here and the red geometry is a placeholder rather than a reading.
 * It is therefore never played as it stands where anything better is known:
 * a speed stated for the version's copies, as a Licensee label states its
 * tempo, sets where it starts, and failing that a re-cut runs at the speed of
 * the roll it was re-cut from times the length ratio, so that it sounds at
 * that roll's tempo (`spoolFor`). Either way only its geometry is used, and
 * that is better varied than trusted: it scales every conductance by k and
 * every time constant by 1/k, and touches nothing dimensionless.
 * @category Systems and emulation
 */
export declare const defaultWelteLicenseeOptions: WelteLicenseeOptions;
/**
 * Welte-Mignon (Licensee), the American re-cut. It keeps the T-100's
 * lock-and-cancel coding on 98 tracks — which is what separates it from the
 * green, the coding rule rather than the track count (Phillips, Table 4.3) —
 * so it reads the same commands and is played by the same mechanism.
 *
 * What it does not have is an instrument of its own. The constants are the
 * T-100's, the spool is the T-100's, and neither has ever been checked against
 * a Licensee. `instruments` therefore offers a single `unfitted` arm, and every
 * curve produced here names itself as such. The spool sets no tempo of its
 * own: a version runs at the speed stated for its copies, or at that of the
 * roll it was re-cut from times the length ratio.
 * @category Systems and emulation
 */
export declare const welteLicenseeSystem: ReproducingSystem<WelteLicenseeOptions>;