music-curator/README.md

# music-curator

Build a local record of what actually gets listened to, from Last.fm.

Companion to [music-mirror](https://code.emmathe.dev/lyrathorpe/music-mirror),
which keeps an MP3 copy of a lossless library for an iPod. This one answers the
question that mirror cannot: which of it is worth carrying, and which of it has
not been played in years.

**This is stage three.** It ingests the scrobble history, indexes the library
from Lidarr, matches one to the other, and writes playlists into the mirror.
Nothing is written back to Lidarr — every call there is a `GET`. See "Where this
is going" below.

## What it does today

- Pulls the full Last.fm scrobble history into SQLite, then keeps it current.
- Tracks loved tracks separately, as the protected set for later stages.
- Indexes every artist, album and track Lidarr knows about, with file paths and
  the date each file landed.
- Ties the two together and reports how well it managed.
- Writes M3U playlists into the mirror, from the listening history.

## Matching

Two tiers, and no third.

| Tier | Key | Notes |
| ------ | --------------------------- | ----------------------------------------- |
| `mbid` | MusicBrainz recording id | Exact. Last.fm's per-scrobble `mbid` against Lidarr's `ForeignRecordingId` |
| `name` | Normalised artist and title | Everything the first tier could not carry |
| `none` | — | Recorded as a miss, never guessed at |

The name tier does almost all of the work. A recording MBID is exact when it
lands, but MusicBrainz holds a separate recording per release, and Last.fm and
Lidarr rarely pick the same one: on a real library, two thirds of scrobbles
carry a recording id and barely a twentieth of them join on it. The report
counts how many carried an id and matched on name anyway, which is the measure
of that disagreement.

So the normalisation is the load-bearing part, because the two sides disagree in
predictable ways. It folds case and accents, drops guest credits (`Yellowcard
feat. Tay Jardine` against a tag of `Yellowcard`), strips a trailing
version suffix (`(Remastered 2011)`, `- Live`), expands `&`, and removes a
leading `The`. Punctuation gets two different rules that pull against each
other and are both required: apostrophes are **deleted**, so `Don't` meets
`Dont`, while every other mark becomes a **space**, so `AC/DC`, `AC-DC` and
`AC DC` all meet as well.

It leans towards collapsing too much. A false match makes something look
played; a missed match makes something look abandoned. Only one of those
deletes music.

### Indexing quirks

Albums are fetched from the **unfiltered** `GET /api/v1/album` first: one
request, and the only path that skips albums whose artist metadata is missing
rather than dereferencing it.

That is not enough on its own. Every album endpoint maps through a resource
that picks the release with `SingleOrDefault(x => x.Monitored)`, which throws
for an album with **two monitored releases** and takes the whole response with
it:

```
HTTP 500: Sequence contains more than one element
```

When the bulk call dies that way, the indexer falls back to one request per
artist. It cannot avoid the exception, but it confines it to whichever artist
owns the offending album and names them in the log — which is the only
practical way to find it in a large library. Open that artist in Lidarr and
check the Releases tab of each album: exactly one release may be monitored.

Losing an artist's albums does not cost their tracks, which come from a
different endpoint with a different mapper, so matching is unaffected. A cull
would not be, and the report says so.

### Talking to Lidarr

Indexing is two requests per artist, and more when the album fallback fires. On
a large library that is thousands of requests in a few minutes. `urllib` opens a
new TCP connection and performs a new DNS lookup for every one of them, which is
enough to exhaust a container's resolver and produce `[Errno -3] Try again` on
everything at once. The client therefore holds one connection open per host and
resolves once.

Transient failures — a dropped connection, a resolver hiccup, `429`, `502`,
`503`, `504` — are retried with a backoff. An HTTP `500` is not: it is an
unhandled exception inside Lidarr's own serialisation and will be raised again
identically. That distinction also decides whether a failure is worth
investigating; a library-wide outage is not probed artist by artist, because
doing so multiplies the load that caused it.

A local address is preferable to a public hostname here. It removes DNS, the
reverse proxy and its timeouts from a path that needs none of them.

Tracks and files have no unfiltered endpoint — Lidarr rejects a call with no
filter — so they stay per artist. If one artist cannot be served, that artist is
skipped and the run continues, but the count is recorded and the coverage report
says so loudly. A missing artist makes their played music look cold, so an
incomplete index must never be culled against.

### Reading the coverage report

Matched against unmatched is the wrong comparison — most unmatched listening is
music that was never in the library, which says nothing at all about the
matcher. The line to watch is:

```
unmatched by an artist the library holds: N pairs, M plays
```

That is a track that was played by an artist the library holds. It is then
split three ways, because owning an artist is a weak proxy for owning a track
and a shared title is a weak proxy for a shared song:

- **the library's own title credits the scrobbled artist** — `Voodoo People
  (Pendulum Remix)` against a play credited to Pendulum. Same song, filed
  under the original artist. These are the genuine misses.
- **the same title under an unrelated artist** — a collision, not a miss.
  Across fifty thousand tracks these are constant: `Everyday` is Rusko and
  also Def Leppard, `Kaleidoscope` is Delta Heavy and also Chappell Roan.
  Matching on title alone would be far worse than missing them, which is why
  there is no such tier.
- **the title is nowhere in the library** — never bought.

Only the first is worth chasing. Counting all three as matcher failures
overstates the problem and would over-block the cull.

## Playlists

Written into `<mirror>/_playlists/` as extended M3U, rebuilt every pass. Six
rules, capped at `--playlist-limit` tracks each:

| Playlist | Rule |
| -------------------- | --------------------------------------------------------- |
| `heavy-rotation` | Most played over the last twelve months |
| `all-time` | Most played ever |
| `neglected` | Played heavily once, silent for twelve months |
| `deep-cuts` | Never played, from albums whose other tracks you play constantly |
| `unheard-favourites` | Never played, by the artists you play most |
| `unheard` | Never played, anywhere in the library |

Ninety days was the obvious window for "recent" and is the wrong one: on a real
history it holds a few hundred plays spread thinly across a twenty-thousand
track rotation, so nothing ranks meaningfully. Twelve months does.

The two `unheard` playlists rotate **weekly**, not per pass. A pass runs every
few hours, and a playlist that reorders itself each time is one that has to be
re-imported each time — the Music app imports a snapshot of a file, it does not
track it.

### Paths

Lidarr knows where the lossless source is; the playlists have to point at the
MP3s music-mirror made from it. The mapping strips a library root from Lidarr's
track paths and re-roots them under the mirror, with the suffix changed.

`--library-root` is derived from the common parent of the indexed artist folders
when unset, so it agrees with Lidarr by construction rather than by being kept
in step by hand. Override it if that guess is wrong.

Entries are written **relative to the playlist file**, so one playlist works
from the NAS, from a Mac over SMB, and from Linux, without rewriting.

A track is only listed once its mirror file has been confirmed to exist. Lidarr
holding the FLAC says nothing about whether the MP3 has been encoded yet. If a
large number are missing, the run says so — that is what a wrong `--library-root`
or `--mirror` looks like, since the paths then map to nothing at all.

`_playlists/` survives music-mirror's prune: it only deletes `*.mp3`, and its
empty-directory sweep skips a directory holding M3Us.

## How the ingest works

Two halves, both taking their bounds from the database rather than from a saved
cursor, so an interrupted run resumes from what it actually has.

| Half | Window | Purpose |
| --------- | ---------------------- | ---------------------------------------- |
| Catch-up | `newest held` → `now` | New scrobbles since the last pass |
| Backfill | start → `oldest held` | Walks towards the beginning of the history |

The backfill asks repeatedly for the newest page of everything at or before a
cursor, and moves the cursor to the oldest scrobble that came back. When a whole
page shares a single second the cursor cannot move without stepping over the
rest of that second, so it takes the next page of the same window instead.

Both windows are bounded at both ends, so paging cannot shift under the fetch
while new scrobbles arrive mid-run.

Three details of the API that are easy to get wrong, all handled:

- The **currently-playing** track is prepended to the first page with no
  timestamp at all. Stored once, it would come back on every pass forever.
- A **lone result** is returned as a bare object, not a one-item list.
- **MBIDs are empty strings** rather than absent when unknown, and an empty
  string looks like a usable join key right up until it silently matches
  everything.

Scrobbles have no identifier, so the primary key is timestamp plus artist plus
track. Two plays of the same track in the same second collapse into one; they
are genuinely indistinguishable, and a surrogate key would make re-ingest
non-idempotent, which is a far worse trade.

Retries cover error 29 (rate limit) and the backend failures, 8, 11 and 16,
with an exponential backoff. An invalid or suspended key fails immediately
rather than retrying four more times to reach the same conclusion.

## Usage

```sh
music-curator                 # one pass, then report
music-curator --interval 6h   # keep running
music-curator --report-only   # report on the store, fetch nothing
```

| Option | Environment variable | Default | Meaning |
| ------------------ | ----------------------------- | ------------------ | ------------------------------------------- |
| `--user` | `MUSIC_CURATOR_LASTFM_USER` | — | Last.fm username to read |
| `--api-key` | `MUSIC_CURATOR_LASTFM_API_KEY` | — | Last.fm API key |
| `--db` | `MUSIC_CURATOR_DB` | `/data/curator.db` | Path to the SQLite store |
| `--interval` | `MUSIC_CURATOR_INTERVAL` | unset | Repeat forever, e.g. `45m`, `6h`, `1d` |
| `--request-delay` | `MUSIC_CURATOR_REQUEST_DELAY` | `0.25` | Seconds between API requests |
| `--backfill-limit` | `MUSIC_CURATOR_BACKFILL_LIMIT` | `0` | Cap backfill requests per pass; 0 for no cap |
| `--lidarr-url` | `MUSIC_CURATOR_LIDARR_URL` | unset | Lidarr base URL, e.g. `http://lidarr:8686` |
| `--lidarr-api-key` | `MUSIC_CURATOR_LIDARR_API_KEY` | unset | Lidarr API key |
| `--mirror` | `MUSIC_CURATOR_MIRROR` | unset | Root of the MP3 mirror; playlists go here |
| `--library-root` | `MUSIC_CURATOR_LIBRARY_ROOT` | derived | Prefix to strip from Lidarr's paths |
| `--playlist-limit` | `MUSIC_CURATOR_PLAYLIST_LIMIT` | `100` | Most tracks in any one playlist |
| `--skip-index` | — | off | Match against the index already held |
| `--report-only` | — | off | Report without fetching |

A [Last.fm API key](https://www.last.fm/api/account/create) is all that is
needed. None of the endpoints used here authenticate a user, so there is no
shared secret, no session key and no signing.

The first pass over a long history is thousands of requests at 200 scrobbles
each. `--backfill-limit` spreads that over several passes if you would rather
not do it in one.

## Running it on TrueNAS Scale

`compose.yaml` is a Custom App definition. Adjust the host path and the `user:`
to match your pool, set the API key through the TrueNAS UI rather than in the
file, then add it as a custom app. The image is published to this Gitea's
registry on every release:

```
code.emmathe.dev/lyrathorpe/music-curator:latest
```

Give the store its own dataset. It is derived data and can be rebuilt from
Last.fm, but rebuilding means downloading the whole history again.

## Tests

```sh
docker build --target test .   # what CI runs
pytest                         # needs pytest on PATH
```

The suite runs against fake transports for both services. The Last.fm one
reproduces its paging, its `from`/`to` semantics and its awkward response
shapes; the Lidarr one serves a canned library split across the same four
endpoints the indexer calls, so the stitching is exercised rather than
stubbed. No network, no credentials, no rate limit. On a Nix machine:

```sh
nix shell nixpkgs#python3Packages.pytest -c pytest
```

## Where this is going

| Stage | Status |
| ------------------------------------------------ | ------------ |
| Last.fm ingest and store | done |
| Lidarr index and the scrobble-to-track matcher | done |
| M3U playlists from the listening history | done |
| Genre and mood playlists from Last.fm tags | next |
| Cold-music report, unmonitoring what is not played | last |

The cull will unmonitor cold albums in Lidarr and tag their artists. It will
never delete files: Lidarr's `AlbumResource` has no tags at all, so tagging
only works per artist, and an artist is only tagged when every one of their
albums qualifies. It will also refuse to run at all if the matcher's coverage
is poor, because an unmatched track is not an unplayed track.