First playable pass at Rose Rouge. 118 BPM, the `rose` bank carrying both the
voice and the horns, and the d5 line walking the sample index by hand
("<5 6 7 8 9 10 11 11 12 13 14 13 15 16 17 18 20 21 22 23 ...>") because the
phrase order IS the arrangement — LE TOUR DU JAZZ.

The d7 vocal chops keep their own lookup table in the comments, mapping `end`
to the words it lands on:

  0.2  i wan'
  0.3  i want you
  0.5  i want you to get to?

That table is the score. Committing it now so the next session does not have to
re-derive it by ear.

Committed as an MVP, warts included, because three of its lines are sitting on
the unseeded-control bomb found this afternoon (#156) and I want the BEFORE
state in history:

  * d1  midiOn "^41"                      -> orDef 0, so the 4/4 floor variant
                                             plays on 0% of cycles and the
                                             syncopated one plays forever
  * d4  # crushbus 41 (range 16 4 "^35")  -> BARE ^35 in a `#`: no events at
                                             all, the bass is structurally
                                             silent until that knob is moved
  * d11 # delay (range 0 0.9 "^19")       -> same shape, same silence

None of that is a bug in the track. It is the boot's control map starting empty,
and the fix lands next commit. This file is the test case.

Four silences in one afternoon, with a gig that night, and every health check
reporting perfect: SC up with zero restarts, Tidal holding 6010, 48 graph links
present, master at -0.2 dB, interface clocking 48 kHz both ways. All true, all
useless.

What cracked it was PLN mentioning the system beeps had gone 'legato 0.2'. A
device that truncates a short sound is a device being restarted, and nothing in
the stack could see that because every lens sampled a moment and the fault lived
between them. trigger_time turned out to be the only restart counter anything
publishes: the UMC's playback stream had restarted 26 times in 15 minutes while
its capture stream — which drives the whole graph — never restarted once.

The log's real subject is the two tools I built to find it, and the fact that
both shipped blind. rig-pulse called SOUND on 'synths > 0 or peak > 1.5%' when
this rig idles at 71 synths and 17.7%, so it read healthy straight through a
silence its owner was complaining about. Then it learned the floor as a running
minimum, which fails because the floor rises. Meanwhile audio-lens compared
consecutive polls with a half-second minimum gap while polling every quarter
second, so its rate and stall checks never ran at all.

A check that never fires is indistinguishable from a check that passes, and the
only reason I found all three is that the rig kept obligingly breaking while I
watched.

rig-pulse answers one question when the sound stops: did Tidal stop asking, or
did the engine stop playing? It got that wrong twice, in two different ways,
and both are the same mistake wearing different clothes.

v1 assumed a universal idle threshold: SOUND if synths > 0 or peak CPU > 1.5%.
But this rig idles at 71 synths / 3531 ugens / 17.7% peak — start_and_midi.scd
registers the Mutable-Instruments global effects on all 14 orbits and those
synths never die. So the tool reported SOUND continuously, straight through a
silence PLN was actively complaining about. It could not have fired. I shipped
a check that cannot fail one commit after writing a message about how a check
that never fires is indistinguishable from a check that passes.

v2 learned the floor as a running minimum. Also wrong, and only live data
showed it: the floor RISES as more of the graph gets instantiated — 71 synths
at 15:02, 103 at 15:05. A baseline that only ratchets down cannot track a rig
that ratchets up, so everything above the all-time minimum looks like activity
forever.

What separates the states is stillness, and the data said so plainly: an idle
SuperDirt returned ugens=3531 five times over eight seconds — exactly, not
approximately — while a played rig moved 4144 -> 4300 in two seconds. So
compare the last few samples to each other and ignore the level entirely. That
is immune to the floor changing between boots or during one.

Known limit, in the header rather than hidden: a perfectly static drone with a
constant voice count would read SILENT. Tidal events are discrete and the count
moves, so it holds for how this rig is played.

Verified against both states: frozen at 103 synths / 4144 ugens -> SILENT;
moving 4066-4222 -> SOUND.

Companion to audio-lens.py: that watches the audio DEVICE, this watches the
audio ENGINE. Together they answer, in one line, the question that cost PLN
three interruptions today — when the sound stops, did Tidal stop asking, or did
the interface stop playing?

scsynth already answers /status on the port it is listening on, and the reply
carries the live synth count and peak DSP load. SuperDirt rendering silence
sits at its idle floor with no synths; SuperDirt fed by Tidal spawns a synth
per event and the load moves. So three states, and the middle one is the point:

  synths > 0 or peak above the floor    -> Tidal is emitting
  answers but flat at the floor         -> engine fine, NOBODY IS ASKING
  no answer                             -> the server is gone

Nothing in this repo could produce that middle verdict before. During today's
stop every existing lens reported healthy — sclang's OSC loop answered, scsynth
answered, all 48 SuperCollider->Ardour links were up, the interface clocked a
steady 48 kHz — and the sound was gone anyway, because Tidal had stopped
emitting while its process stayed alive, threads scheduled, port 6010 held.

Written with the offsets bug already paid for. The first throwaway version of
this query hardcoded byte offsets into /status.reply and reported 1.68 BILLION
ugens and 0.0% CPU, and I read the CPU figure off it and told PLN the engine was
rendering silence. It was not: reading the typetag properly gives 91 synths at
30.7% peak. A number obviously wrong enough to notice sat right next to a number
wrong enough to mislead, and I used the second one. Hence osc_parse walks the
typetag, and the absurd-value story is in the docstring so the next reader
distrusts hand-rolled offsets on sight.

Passive: /status is a query, allocates nothing, never touches the default
server object, never plays a tone.

Three fixes, found by pointing the tool at the laptop's built-in card when PLN
moved upstairs and played UMC-less out of the aux jack into a Pioneer amp.

1. The rate and STALL checks never ran. They compared consecutive polls and
   required dt > 0.5 s, but the default poll interval is 0.25 s, so the
   condition was almost never true: the 900 s watch that diagnosed the UMC
   collected exactly TWO rate samples. The restart detector carried the entire
   investigation while the other half of the tool was decoration. Now measured
   against a reference sample held at least a second back, which also makes
   'RUNNING but hw_ptr frozen' a check that can actually fire. Verified: 11
   samples in 12 s, 47984/47996/48034 Hz.

2. It watched pcm0p unconditionally. Fine for a USB interface with one playback
   PCM; wrong for the SOF card, which has eight (headphones, speakers, mics,
   HDMI) and where which one is live depends on where the jack is. It would
   have reported perfect health about the speakers while the sound went out the
   headphone jack. Now prefers a RUNNING substream, re-resolved every poll, and
   says so when the live PCM moves.

3. nominal_rate read stream0, which is USB-audio-only, so it returned None on
   the built-in card — disabling the rate comparison on exactly the device PLN
   falls back to when the interface dies. Falls back to hw_params.

Also stops crying wolf: a stream that just restarted has a hw_ptr counting from
zero, so the first delta across the seam is meaningless. Measuring it anyway
printed 'RATE OFF - 0 Hz (-100%)' on every reconnect during the replug test — a
false alarm fired at the exact moment the operator most needs to trust the
tool.

The lesson is the one this repo keeps relearning: a check that never fires is
indistinguishable from a check that passes, and you only find it by running the
thing somewhere new.

'Je jouais, d'un seul coup plus de son.' Every static check said fine:
SuperCollider up with nrestarts=0 and a clean log, Tidal's GHC alive and
holding 6010, the PipeWire graph fully linked SuperCollider -> Ardour -> UMC,
Ardour's master at -0.2 dB reaching both interface channels, the UMC reporting
48000 Hz momentary on both directions. Nothing to find, if you only look once.

The tell came from PLN's ear instead: the system volume beeps had gone 'legato
0.2' — truncated. A device that eats the head off a short sound is a device
being stopped and restarted, and no lens in this repo could see that, because
each one samples a moment and this fault lives strictly between moments.

trigger_time is what exposes it. It changes only when a PCM stream is
(re)started, so it is a restart counter that nothing else in the stack
publishes: no log line, no error, and PipeWire reports the node 'running' on
both sides of the event. Reading it twice showed the UMC's PLAYBACK stream had
restarted while the CAPTURE stream had been up for 33 minutes straight — and
since pw-top shows the capture node is the graph DRIVER, the graph keeps
clocking serenely through an output that has gone away. That asymmetry is the
whole bug, and it is invisible to every one-shot check.

So the tool watches over time and reports what a snapshot cannot: stream
restarts with the lifetime of the stream that died, effective rate from hw_ptr
deltas (RUNNING with a frozen hw_ptr is a stall, and a rate off nominal is the
'everything plays fast' flavour of the same complaint), state transitions, and
device presence across an unplug.

Two deliberate choices. It resolves the card BY NAME on every poll rather than
caching a number, because a replug can move the UMC from card1 to card2 and a
lens pinned to card1 would report 'gone' forever and miss the entire after-half
of the replug test this was built for. And it is strictly passive — opens no
PCM, plays nothing, captures nothing — because this rig has already had one
investigation where the probe's own capture caused the xruns being blamed on
the rig.

Verified: --once reads card1 with playback age 198s vs capture 2192s, the exact
asymmetry above; a 45 s watch over a quiet stretch correctly reported zero
restarts (the fault is intermittent, which is itself the finding); the unknown
device path lists the cards present instead of failing bare.

PLN asked for a restart-SC command in the tray menu. The reason it is worth
having: a headless sclang has no post window and no eval-over-OSC endpoint, so
a restart is the ONLY way to arm the sample-watcher responder or to pick up a
sample pack dropped since boot. Today that meant typing a systemctl line into a
terminal, mid-compose, which is exactly the friction the tray exists to remove.

The catch is that it sits two pixels under 'Launch Gig' and it is the only
entry in this menu that can STOP THE SOUND. So while the rig is up it is not a
one-click action: the first click arms it and says what it costs, and a second
click — which means opening the menu a second time, deliberately — fires. The
arming lapses after ten seconds. That is #116's rule ('the hot path cannot
start the sound by accident') applied to the opposite accident, and it is why
there is no confirmation DIALOG: a modal stealing focus mid-set is its own
hazard (#136). When the unit is DOWN there is nothing to interrupt, so it stays
a single click.

The label carries the state rather than the intent, because the two 'up's are
not the same up: systemd reports active the instant sclang execs, but the banks
register alphabetically after that and the rig is not playable until the end.
Measured today, active -> responder armed took 27 s, so under 30 s of uptime
the entry reads 'booting - Ns of ~30s' instead of claiming the sound is back.
A silent rig should never be a mystery.

Read on menu-open only, never on the 2 s thermal tick: it shells out to
systemctl, and paying that 30x a minute for a label nobody is looking at is the
per-tick cost this rig keeps getting bitten by. The restart runs through
QProcess so a two-second systemctl call cannot freeze the tray.

Verified: module imports clean, sc_state() reads (True, 145s) against the live
unit, fmt_dur spans 5s->2h13m, tray restarted and came back with no traceback.

The watcher's not-answering message said 'load the responder once, in SC:
"sample_watch.scd".load'. Checked that against the live rig and it is not
possible here. sclang runs headless under parvagues-sc.service, so there is no
post window to type into; its stdin is /dev/null, so nothing can be piped in;
and neither sclang nor the ParVagues boot exposes any endpoint that interprets
code over OSC. There is no way in.

Which means a rig booted before start_and_midi.scd learned to source the
responder will never answer /pv/ping, no matter how long the watcher waits —
exactly the case right now, sclang having come up 2026-08-13 14:20 against a
boot script that only grew the source line at 2026-08-14 11:07.

So the message now names the real remedy and its real price: a restart of
parvagues-sc, which stops the sound, and therefore belongs between tracks and
never mid-set. A wrong instruction is worse than a blunt one — it sends you
hunting for a window that does not exist.

rose (46 files) and love_parade (5) are still sitting unloaded and unshadowed,
waiting for that restart.

Two complaints weeks apart that sounded unrelated — "the kick doesn't hit" and
"the WAP bass is saturated" — turned out to be the same orbit. d4 is 76-91% of
the low-frequency bed floor on every buried track AND the exposed bass in WAP.
One stem, two jobs, both done badly at different moments, which is what
livecoding does to an orbit and what a set-wide mix decision cannot see.

Punch median 8.3 -> 10.3 dB, buried tracks two -> one, both masters landing on
4786.370000 s so the fifteen approved boundaries survived untouched.

The shareable part is the near-miss: the first render improved every track,
INCLUDING the seven with no correction applied. Good numbers, would have
shipped. What stopped it was asking why the untouched tracks moved — the
balance was attenuating one side instead of holding constant power, so nine
pans were also nine undeclared level cuts being credited to the deliberate
work. After the fix the median went 10.4 -> 10.3: the result was real and the
explanation had been wrong, which is the failure that survives review because
nobody audits a number they like.

PLN, mid-compose: "can we build a parvagues samples watcher tool. watches every
min the samples folder. on new found, loads in current service running sc the
sample pack?"

Three pieces, and the interesting part is what each one REFUSES to do.

sample_watch.scd — an OSC responder (/pv/ping, /pv/loadBank) so a new bank can
be registered into the RUNNING rig. Sourced from start_and_midi.scd, and safe
to evaluate standalone mid-session since OSCdef replaces its own key. Loading
is cheap because lazy mode reads WAV headers only.

tools/pvbanks.py — ONE definition of "what banks exist", mirroring the boot's
three loaders. A watcher and a checker that disagreed about what a bank is
would be the worst bug available here: the checker says clean, the watcher
loads something else, and the rig plays a sound nobody chose.

tools/sample-watcher.py — the loop, plus a systemd --user unit that is
deliberately NOT PartOf the SuperCollider unit, because a supervisor coupled
to its supervisee launders its own restart limit.

WHAT IT REFUSES

Shadowing. `~dirt.loadSoundFiles` cannot append even if you ask it to —
SuperDirt.sc:132 passes `appendToExisting = false` as an ASSIGNMENT rather than
forwarding the argument, so every load replaces. A pack shipping a folder
called `kick` would therefore free the existing bank's buffers and take the
name, changing what an old track plays with no error anywhere. Any new name
claimed by two folders is reported and SKIPPED for a human.

Claiming success at a silent rig. It pings first, and a load that gets no
reply is NOT written to the state file, so the next pass retries instead of
believing itself. Verified against a mock rig: no-reply pass loads 0 and marks
nothing known.

TWO BUGS CAUGHT BEFORE THEY SHIPPED

PathName.folderName returns the PARENT for a directory path — it is built for
file paths. The responder would have looked up the wrong bank and reported a
wrong file count on every success. It now diffs soundLibrary.buffers.keys
before and after, so whatever key APPEARS is the bank name by construction,
and no assumption about basename-with-trailing-separator is needed.

My own protocol test wrote to the real state file, which then made --dry-run
report all 1425 banks as new. Fixed the test isolation and, separately, made
the baseline branch honour --dry-run instead of saving.

Also verified against the real tree: 1425 banks, 19396 playable files, zero
shadowed names. File counts follow SuperDirt's pathMatch("*"), which skips
dotfiles — the AppleDouble `._X.wav` trap that once made a folder look clean
to `ls` while a naive glob double-counted it.

NOT YET VERIFIED: the .scd against a live SuperDirt. PLN is composing and the
responder needs one eval in his session; the Python half is proven end to end
against a mock.

Captain's log for #148. PLN heard the album's cuts were wrong within seconds of
a private SoundCloud upload; the bug went four layers deep, ending at a
provenance note that borrowed a true r>=0.99 from an entirely different
measurement.

Two learnings worth the write-up. First: a verifier that passes the case you
built it for is not yet a verifier — mine passed WAP and Drums, the two tracks
he had actually complained about. Second, and his line not mine: the text editor
knew every boundary exactly and never wrote it down, so we spent an afternoon
reconstructing from audio what a log line would have given for free.

Captain's-log entry for the OPAL-26 mastering session (#146). The documentary
beat: three separate times today something SOUNDED fine while its metadata lied
— 11 of 12 shipped stems hard-clipped, every master this tool ever made silently
192 kHz, and fifteen split files each claiming to be the whole 79-minute set.
None of it errored. An audio pipeline does not fail by crashing; it fails by
producing a file that opens.

Counterweighted with the hour I spent building an elegant theory about a
"lingering arp" around an orbit measuring -72.6 dBFS, which PLN closed in forty
seconds by listening.

PLN A/B'd five solo-orbit clips against the master and closed it in under a
minute: "wait rehearing master i dont hear any issue? ignore the arp variants,
lets keep and lets confirm what we have."

So the OPAL-26 masters stand as rendered. No stem surgery.

Logging it because the near-miss is the useful part. The machine narrowed five
candidates and could not call it. d12 fit the declaration theory PERFECTLY —
declared by do_it_right, absent from sunshine, re-declared by take_5, which
would have explained "gone once in take 5 drops" exactly — and it even locked to
do_it_right's 89 BPM cycle. It measured -72.6 dBFS. Inaudible. The tempo lock
was noise floor, and the elegant theory was fitting a signal nobody could hear.

Also captured, since they are real reactions even though they are not the thing
he asked about: d6 has a ~2 s blast worth killing some day, d3's percs are "a
bit dry", d10's riser is fine.

Appends the OPAL Festival 2026 section to the archivist's log: floor reactions
per track, transitions, and the sound/technical notes, each paired with what the
measurement said.

The pairing is the point. Where PLN's ear and the meter agree, that is a
calibration datum:
  "not loud enough, i had to set max volume"  -> -18.2 LUFS, 4.2 dB under target
  "MAFIA bass goes too high for a few secs"   -> +24.5 dB over local median,
                                                60-250 Hz, at 1:02:10 (he filed
                                                it at 1:03:10 — one digit off)
And where they disagree, that is more interesting still: Mafia got a strong
floor reaction while being the NARROWEST (width 0.05) and most bass-dominant
(78% in 60-250 Hz) track of the night. Width is not what makes these land.

Near-miss worth recording: I first wrote this file with Write, having been told
twice by a stale tool cache that it did not exist. It did — 319 lines including
the entire Take89/Montreuil listening pass. 314 lines were destroyed and
recovered from HEAD. The corpus CLAUDE.md calls a documentary source survived
because it was committed.

OPAL 2026 had NO metadata anywhere — content/lives/ carried 2024 and 2025
entries for the same festival and nothing for this one. Writing it by hand is
how wrong strings get copied between files (split_bandcamp.py's ALBUM already
did that once), so tools/gig-metadata.py reads every fact from whoever owns it:

  backlog.md  via tools/setlist.py --long   -> membership, ORDER, name, bpm, section
  the .tidal  via tools/setlist_samples.py  -> the sample packs actually referenced
  --segments                                -> timecodes measured off the take

The timecodes pay for themselves twice. They came from aligning the gig log to
the audio by cross-correlation (r>=0.99 over 20 probes across 11 orbits, 0.00 ms
spread), and they let a visualist cut to the set without re-deriving boundaries
by ear — which is exactly what Slopmotion needs.

OPAL 2026: 15 tracks, 89-166 BPM, 60 sample packs, 1:20:09 — and the set was
played in the EXACT planned order, 15 for 15.

Also two pan TODOs, measured rather than felt: mafia_sans_serif is width 0.05
and ghosts_in_the_toilets 0.09 (side/mid RMS) against a set median of ~0.20 —
the two narrowest tracks of the night, and they played back to back. Both files
also carry PLN's own gig-day edits; both still pass silent-eval --seeded.

Whitespace only — PLN opened docs/GIG-CHEATSHEET.md to send it to his phone
and print it for the rehearsal, and the save stripped the trailing blank line.
Committing it so the tree is clean before travel: an unexplained dirty file is
exactly the shape a Pulsar buffer-clobber leaves behind, and the next session
should not have to re-derive that this one was benign.

Self-correction before it misleads anyone at 2am in a tent. §1 told PLN to use
`Window: Reload` to pick up the on-disk desire.tidal fix. That is wrong, and it is
wrong in a way already recorded: Reload restores buffers from Pulsar's SESSION
CACHE, not from disk. PLN's own words when we learned this: "cause reloads dont do
it". The only reliable manual action is to close the tab and reopen the file.

Also names tonight as the trap's THIRD recorded bite, and its nastiest shape so far:
it reverted an on-disk fix within minutes and thereby made a correct fix look wrong
in a verification loop — the earlier instances were noticed as a wrong knob, this one
as a wrong test result.

PLN: "so tomorrow its not a MORNING.md note its an EVENING.md one :P" — he
travels at dawn, so the next time he and the rig are both awake it is evening, in
a tent, on headphones. MORNING.md's whole frame (the KRKs, the room, the last
speaker day) is spent.

Written for that context specifically: what needs ears vs what needs the room,
and §1 first because it is the only item that can destroy work — Pulsar is
probably still holding the broken desire.tidal buffer, and it already clobbered
this fix once tonight.

Carries forward the two things he has not heard yet (1-cycle xfade with the -6 dB
cut-group explanation, desire's repaired midiOn bass), the fact that NOTHING from
tonight was recorded and why that promotes #37 to a blocker, the unchanged ghost
list with the paste-at-top remedy, and the rig health numbers measured mid-set.

Also records the MIDI fork he diagnosed himself, because it is the kind of thing
that reads as impossible the second time it happens: Tidal hears the LCXL over
ALSA seq (24:0 -> SuperCollider in4), Ardour hears it over PipeWire's Midi-Bridge
into `ardour:MIDI Control In` via Midi Through. Break either and the other stays
perfect — which is exactly why "midi passes to midiOn/off but no fader moves"
was a real, coherent symptom and not a contradiction.

Caught by tools/silent-eval.py on the four tracks PLN saved at the end of the
last speaker rehearsal. `desire` did NOT compile — meaning the bass he had just
called "doope" existed only in a running ghci, in a take that was never recorded.
A saved file that does not compile is the worst kind of gig blocker: it looks
like work is safe.

THE ERROR LIED ABOUT ITS LOCATION

    <track>:409:7: Couldn't match expected type: Pattern ValueMap
                                with actual type: Pattern ValueMap -> Pattern ValueMap
      Probable cause: 'midiOn' is applied to too few arguments
      In the first argument of '(#)', namely 'midiOn "^45" (# crush 6)'

Line 409 of the generated file sits in the "Claude's Gesture" block, so that is
where I looked first, and a plausible fix there changed nothing. `--keep` and a
read of the actual generated Haskell found it three blocks earlier:

    orb4_51 = idcp $ gF2 $ gM3
        $ midiOn "^45" (# crush 6)      -- a FUNCTION
        # "bassWarsaw" # voice 0.05     -- used as the LEFT operand of #

"Claude's Weight" had exactly one note figure, "0@5 0 <2 3> <1 0>", and that
figure moved into Gesture's new midiOff. What remained was a midiOn with no
pattern to apply itself to. GHC unified across the whole d4 group and reported
the position where the type conflict surfaced, not the block that caused it.

TWO FIXES

1. "Claude's Weight" commented out, params and all, with the reason inline.
   Nothing musical is lost — the LAST d4 in a file wins, and that was never this
   block. Restoring it needs a note pattern of its own, which is a taste call.
2. "Claude's Gesture" — `midiOn ch` passes its argument straight to
   someCyclesBy (BootTidal:391), so it must be a FUNCTION. Both note figures are
   now LEFT sections of `#`:  ((note (scale ...)) #). That keeps the original
   semantics exactly: note supplies the rhythm, bassWarsaw and the params merge
   in. ON = the moving arp, OFF = the grounded root, which was the intent.

VALIDATION: `silent-eval.py --seeded live/collab/raph/desire.tidal` -> "ok —
every declared orbit emits events". Cold, no rig, no second ghci.

PROCESS NOTE WORTH KEEPING: the first attempt at fix (2) was written to disk and
then silently reverted — PLN quit Pulsar and reopened it, and Pulsar wrote its
stale BUFFER back over the file. That is #95 / the buffer-clobber trap, observed
live rather than theorised. Any on-disk fix to a file open in Pulsar needs a
Window: Reload before the editor touches it again.

The last speaker rehearsal before OPAL. Saved as played, not as I would have
written it: these are ear decisions and the ear was in the room.

desire.tidal — the "FIXME BASS!!!" is answered
  * 127 -> 128 BPM.
  * d4 Claude's-Gesture bass is now a TWO-STATE gesture instead of one line:
    `midiOn "^44"` takes the busy arpeggiated figure
    ("<[0 3 0@14] [0 <2 4> 0@14] [3 0 2@14] [0 3 <0 -3>@13 ~]>") and
    `midiOff "^44"` holds the sparse root ("0@5 0 <2 3> <1 0>"). One button now
    moves the bass between grounded and moving, which is what the track wanted.
  * d3 stops fighting itself: the 32-bar gain swell (range 1.3 1.6 saw * per-hit
    velocity) is parked as a flat `# gain 0.9` with the swell kept commented
    directly beneath it, and `legato` goes back to being a knob.
  * d5 named: "Piano Desirable show".

mafia_sans_serif.tidal — d7, the one that was "ACID WEIRD NOT GOOD": `slow 2`
  becomes `fast 2` and gain 1.1 -> 1.5. It sits up now.

you_my_sunshine / vague_de_crime — small level and structure trims from the
  Sunshine -> Vague seam work.

backlog.md — BPM annotations on the tail: Desire [129], le shifteur marteau
  [130], REVOLUTION [114]. backlog.md is the setlist SSOT (#123), so these are
  the numbers the tooling will read.

Recorded verbatim, INCLUDING two things I have not touched and am reporting
rather than silently fixing:
  * desire d3 now reads `# legato (range 0.05 0.9 "^18")` while the comment above
    it still says "^52: tightness". If ^18 belongs to another orbit's column that
    is the #54 borrowing problem live on stage — flagged, not edited.
  * NOTHING FROM TONIGHT WAS RECORDED. "Tidal Live" holds 120 wavs, newest dated
    2026-08-02 (Take95); zero files today, no open write fds. PLN: "forgot to
    record!" The basses above exist only as code. That is #37's whole reason for
    being, and it is now getting a red warning in the HUD.

PLN, mid-rehearsal on the last speaker session before OPAL: "atm when i work
the track and change eg. a # gain 1.4 to # gain 1.5, it goes whole track all
d1-d12 through fadedown-fadeup over a few bars?? its not ok, i cant adjust
anymore." Then the good question: "fade d1 X -> d1 X should be constant, as
each percent of volume removed from X is added to id?"

He is right about the arithmetic and the rig breaks it in three places.

WHY CROSSFADING A PATTERN WITH ITSELF DIPS

  1. envEq/envEqR are EQUAL-POWER envelopes, g(t) = sqrt(sin(pi/2*t)), so
     g_in^2 + g_out^2 = 1. Correct — for a LINEAR gain stage.
  2. SuperDirt's law is amp = gain^4. At the midpoint both sides sit at
     g = sqrt(0.7071) = 0.8409, so each half's amplitude is 0.8409^4 = 0.5
     EXACTLY. The equal-power promise was made in the wrong domain.
  3. `overlay` fires the same sample TWICE. Two coherent voices would sum
     0.5 + 0.5 = 1.0 and be flat — that is PLN's model. What actually happens:

       orbit with `# cut N`   2nd voice releases the 1st (playSynths broadcasts
                              the cut group BEFORE amplitude is read — the same
                              mechanism as the 2026-07-29 ghost bug), one voice
                              survives at amp 0.5              => -6 dB
       orbit without cut      two independent voices, incoherent sum,
                              sqrt(.5^2 + .5^2) = 0.707        => -3 dB + comb

Deepest at t/2, unity again at t. With t=4 that is a four-bar swell on twelve
orbits at once — because each dN is its own transition and ctrl-enter re-sends
the whole blank-line-delimited block, all starting at the same `now`. Editing
one `# gain` changes one line but evaluates twelve.

THE STANDING CONCLUSION: an overlap crossfade can NEVER be transparent on a
cut-group orbit. `cut` means "one voice in this group"; a crossfade means "two".
Shortening the fade does not remove the dip, it makes it a blip instead of a
swell. The dip-free answer is a NON-overlapping transition (`clutchIn`), which
changes the feel of every seam in the set — so it waits for after OPAL (#13).
This file's own comment guessed that in July; it is now measured, not guessed.

CHANGES

- xfade default 4 -> 1 cycle. One token, so it is one token to flip back.
- xfadeCutIn gains a `t <= 0` branch returning the incoming pattern untouched.
  Needed before "0 = instant" can ever be offered: Tidal guards
  `_slow 0 _ = silence`, and `q |* gain silence` then has no right-hand values
  to match, so the INCOMING pattern comes out EMPTY. Unguarded, "0 cycles"
  means silence, not instant. Now `xfadeIn N 0 $ ...` is a real instant swap.
- Killed a trap in this file's own guidance: it recommended `p N $ ...` for fast
  iteration. `p` carries no `|< orbit`, so the sound lands on orbit 0 — wrong
  LCXL column, wrong Ardour stem, fader that looks dead — the exact failure the
  lines above it warn about. Points at `jumpTo N` / `xfadeIn N 0` instead.

VALIDATION: tools/check-boot.sh (safe mid-set, never grabs 6010) — helper block
typechecks against tidal-1.9.5, all 13 g* helpers audible with an untouched
controller, and the transition ghost check still reports 0 outgoing onsets after
the fade. Takes effect at the next Tidal boot; nothing in the running session
changed.

Every intuition on the way to this one was wrong, including several of mine, so the
log records the wrong turns as well as the answer — that is the part worth reading
back.

The shape: nothing crashed. sclang up, scsynth up on 6.7% CPU, sink RUNNING,
routing intact, and no sound. Any monitor aimed at SuperCollider would have
reported a healthy rig. PLN found the discriminator himself by switching the
default sink by hand — internal speaker plays, UMC does not — which killed the
pure-CPU theory and pointed at the interface, which was also not at fault: 128
vs 1024 period_size is an 8x tighter deadline, so the UMC is the canary.

Recorded because they will recur:
  - `state: RUNNING` lied while the device was dying once a second; only repeated
    hw_ptr sampling is honest, and FOUR samples, not two — my two-sample read
    called it "still stalling" when a ring-buffer wrap looks identical to a stall.
  - a rule scoped to one device but applied to the whole graph stops being a fix
    and becomes a load (52-no-suspend matched every node; two nodes nobody used
    held 2.1M xruns).
  - the laptop mic had auto-wired itself into the d1 stem, invisible in Ardour's
    GUI and in the saved session, and Take95 is already exported (#132).
  - #7 survived two fixes because the metric counted the BOUNDED map.
  - my own journalctl scans burned a core twice while he was losing audio. I was
    the load I was measuring.

Uncommitted after the Monday session. His, tuned by ear, and sitting only in the
working tree — the state that let a stale Pulsar buffer eat committed work twice.

  d3  gains `# att (range 0.2 1 "^31")`.
  d4  the two bus knobs SWAP: crushbus moves to ^52 and octersubbus to ^32, each
      now labelled in his own words ("BURN", "DEEP"). Both are legal d4 slots, so
      this is a taste decision about which hand reaches which effect, not a
      correction.
  d4  the two FIXME(#54) lines and the commented-out `octersubbus 43 ^17` are
      GONE. That was the third-effect overflow parked pending gSel; he resolved it
      by dropping the third effect instead of waiting for the fold.
  d5  `$ gM3` becomes `$ gM3 $ gF3` — the DJ filter is back on the SuperStars
      layer, replacing the commented `-- $ gF3 $ gMute3` above it.

Note the d4 swap is exactly the pair of slots that a buffer clobber has reverted
before (both effects landing on ^52). They are on ^52 and ^32 here — distinct, so
this is the healthy state, not the clobbered one.

THE J-5 DROPOUT. Sound went glitchy-then-silent mid-rehearsal, five days before
OPAL, and every obvious suspect was healthy: sclang up, scsynth up and using
6.7% CPU, the UMC sink present and RUNNING, every link in place. Diagnosing the
audio engine would have found nothing wrong with it, because nothing was.

THE BEHRINGER IS THE CANARY, NOT THE FAULT. The internal speaker played fine the
whole time and only the UMC202HD died, which looks exactly like a broken
interface. It is not: period_size 128 on the UMC against 1024 on the SOF speaker
is an 8x tighter deadline, so the UMC is the only device in the box with a
real-time deadline tight enough to miss. USB devnum stayed at 14 across samples
(not the 2026-07-26 re-enumeration bug), mixer 127/127, links intact. Rule for
next time: when only the UMC is silent, suspect the SCHEDULER.

WHAT pw-top FOUND. Xruns per node:

    sof_sdw.HiFi__Headset__source   1,421,369   nothing used it
    sof_sdw.HiFi__HDMI1__sink         704,081   2.8ms BUSY/cycle, no client
    UMC202HD Line sink                 32,338   the victim
    alsa_input.hw_U192k_0              14,338   W/Q 1.24 = waits > a full quantum
    SuperCollider                       1,119
    ardour                                422

Two nodes NOBODY USES produced 2.1 million of them. HDMI1 appeared when the
screen was mirrored for the WYSIWYG show.

THE ROOT CAUSE WAS A FIX. 52-no-suspend.conf matched ~alsa_output.* and
~alsa_input.* — every node in the graph. It was written for a real reason (a
woken device eats the first note's attack) but applied graph-wide it held six SOF
sinks and a broken mic source permanently open INSIDE the real-time graph.
Never-suspend is precisely what it asked for. The generalisable lesson, and it is
the one worth keeping: a rule scoped to one device but applied to the whole graph
stops being a fix and becomes a load. Suspension is not the enemy — suspension of
the device you are playing through is. Now narrowed to the UMC plus the internal
Speaker, the latter kept deliberately because it is the fallback that proved the
machine could still make sound during the incident.

AND THE LAPTOP MICROPHONE WAS IN THE d1 RECORDING. pw-link showed
Headset__source:capture_FL -> ardour:Tidal 01/audio_in 1. Ardour auto-connects
physical inputs, so the internal mic was summed into the input of the track that
records d1, alongside SuperCollider:out_1 — invisible in Ardour's GUI and in the
saved session file. 53-rig-graph.conf disables the source outright rather than
trusting nobody to re-arm that track. Take95 was recorded with it connected;
auditing that is #132.

RESULT, measured. Load 7.17 -> 4.80. UMC hw_ptr went from restarting once a
second — never past ~3000 frames, deltas going NEGATIVE — to a steady 48,145
frames/sec across six consecutive samples with zero restarts.

VERSIONED, NOT COPIED. The three wireplumber files now live in
config/wireplumber/ and are SYMLINKED from ~/.config. One source of truth: a copy
would have become the fourth thing in this project to drift from its generated
twin. check-audio-graph.sh also fails on a dangling symlink, because a broken one
is silent until the next wireplumber restart — the worst possible moment to find
out.

NEW GATE: tools/check-audio-graph.sh, wired into gig-up as a HARD check. It
asserts what was actually wrong, in the order it bites: no non-SuperCollider
source on any Tidal input (recording integrity first — a dropout you hear and
redo, a stem with room noise in it you ship), Master really reaching the UMC,
the interface actually clocking, and the prune still in effect. check-mix reads
the SAVED session; this reads the LIVE graph, and the saved file has been wrong
before (#62).

TWO METHODOLOGY RULES BAKED INTO IT, both learned that day:

  - NEVER SCAN THE JOURNAL. `journalctl --since` on a long-uptime box reads the
    whole journal and burned a full core twice WHILE PLN WAS LOSING AUDIO — the
    diagnostic making the fault worse. Everything is /proc, pw-link, bounded
    pw-top.
  - `state: RUNNING` PROVES NOTHING. It read RUNNING while the device was dying.
    Only the hardware pointer, sampled repeatedly, is honest — and take four
    samples, not two: my first two-sample read gave a confidently wrong "still
    stalling" verdict because a ring-buffer wrap looks identical to a stall.

Mutation-checked: the recording-integrity awk was run against the real 2026-08-03
pw-link dump WITH the mic present (it fires) and against a clean one (silent, no
false positive). A check that has never seen the bug it was written for is a
guess.

PLN: "wheres the 'run parvagues' big HUD menu button? I see perf modes, open
bridge, then the gear 4/6 up, but below open bridge, i want a 'Launch Gig' button
that opens and focuses auto the parvagues".

Two problems behind that one sentence.

DEPTH. Pulsar was reachable only through Gear ▸ Pulsar — the hot path buried
under the tool drawer. It is now a top-level entry directly below Open Bridge,
labelled with what the click will actually do ("focus ParVagues" when it is up,
"open ParVagues" when it is not), because "Focus" vs "Open" is the difference
between a confident click and one that looks like a no-op.

FOCUS DID NOT EXIST. launchers.py's docstring said "on Wayland there's no
portable window-focus", so clicking a running app answered with the string
"already-running" and did nothing. That is true of the X11 toolbox — xdotool,
wmctrl and kdotool are all absent here and the first two cannot work under
Wayland anyway — but it is not true of THIS desktop. Plasma exposes KWin's
scripting engine on the session bus, and a script running inside the compositor
is simply allowed to activate a window.

So focus_window() registers a tiny KWin script, runs it, and unregisters it. It
matches on resourceClass (the app id), not the window title: the title changes
with every file PLN opens, and matching it would break the moment a filename
stopped containing "Tidal". The script name carries our pid so two clicks cannot
collide on an already-registered name. Verified live against the running Pulsar:
focus_window('pulsar') -> True.

Consequence worth noting: running native apps in the Gear menu used to be greyed
out, because the only honest thing a click could do was refuse. They are live
again — clicking a running app now raises it, which is the thing you actually
want mid-set.

Deliberately editor-only. Launch Gig does not start SuperCollider, boot Tidal or
arm Ardour: #116 is the standing rule that the hot path must not be able to start
the sound by accident, and one wrong click before a set is a stuck scsynth rather
than a convenience.

Every failure path falls back to reporting. A focus button that quietly does
nothing is a papercut; one that throws during a gig is not acceptable.

Bridge suite: 43 passed.

The KRKs go home after tomorrow's dawn rehearsal, so this is the last run with
real monitors — and desire / REVOLUTION / electric_hammer have not been played
this cycle at all. Read them cold so his ears go to the music.

Two findings worth the read, both the same shape as Sunday's do_it_right bug:

desire declares d4 THREE times in one block (lines 50, 56, 62), under his own
"-- FIXME BASS!!!". Later wins, so the two takes he tuned are dead code. The
winner differs in ways that do not read as a choice: it has no lpf on ^32, so
that knob is dead on the bass, and it carries no gain at all where the other two
say 1.15 — which under SuperDirt's quartic law (amp = gain^4) is 4.8 dB quieter
than the level he dialled.

electric_hammer declares d5 twice (32, 46). The superfreak voice wins, so ^89
and ^33 have nothing behind them, ^57 does something other than what the dead
copy above it describes, and hammer:7 — the sample the closing track is named
after — never sounds.

Also: the five closing seams with their ghost orbits, paste-ready orphan guards
for the two worst, his two vague_de_crime TODOs with the gain converted to dB,
and the gate result (GO, 12/12).

One methodology note recorded in the doc: silent-eval must be run --seeded here.
Unseeded it reports 12 SILENT orbits across these three tracks, every one of them
a midiOn gate sitting at default-off. That is the harness, not the music.

Four tracks carried uncommitted edits after the KRK run. They are his, they
are tuned by ear, and they were sitting only in the working tree with a
rehearsal scheduled for dawn — exactly the state that let a stale Pulsar
buffer eat committed work twice before (#95). Committing them so tomorrow's
run starts from disk, not from whatever a buffer happens to remember.

What he changed, and why it reads as deliberate:

- gimme_acid  d5 gains a `^56` jungle_breaks:15 swap and the slice pattern
  moves under `whenmod 16 8`, so the chop only bites for half of every 16
  cycles instead of running flat the whole time. d11 gets `# gain 1.5` and a
  renamed comment ("BOOM, BOOM, BOOM").
- perfect     comment-only: d1 "Famous Clubkick", d2 "Clap Mechamment
  Celebre". Naming the kick and the clap is how he finds them mid-set.
- bombe_dj    `resetCycles` commented out. This is the SET OPENER after
  quand_on_decolle; resetting the clock at the top of track 2 yanks every
  still-ringing orbit's phase from the track before it.
- vague_de_crime  d1 kick +0.3 gain, d6 gains `midiOn "^90" (ply 2)`, and two
  TODOs written in his own words: the kick wants comparing against the rest
  of the set, and d3 is "less solid than in do it right or drops or ouais".

The two TODOs are ear-work for the last-third rehearsal, not defects to fix
blind — logged rather than acted on.

Master: 61.0 min, 2 ch, 48 kHz, 24-bit. I = -14.0 LUFS on the nose, peak
-0.9 dBFS under a -1.0 ceiling, LRA 12.7 LU. L-R difference RMS is -22.4 dB, so
it is genuinely stereo and not dual-mono — worth measuring rather than assuming,
given the first attempt collapsed to one channel.

THE BUG THAT WOULD HAVE SHIPPED. take-master trims leading silence before
loudnorm sees it, so the master starts 10.94 s later in the music than the raw
take does. The segments were computed against the RAW take. Splitting with
unshifted offsets puts every boundary eleven seconds late — each track beginning
eleven seconds into the previous one's tail. The output would have played
perfectly and been wrong throughout.

Two guards in take-segments:
  --shift   subtract the measured head trim. Clamped at 0, because the first
            track legitimately goes negative: PLN focuses a .tidal a few seconds
            BEFORE he evaluates it (log says 7.4 s, first sound is at 10.94 s).
  --master  probe the mastered file and clamp to its duration. The master is
            trimmed at the TAIL too (1.45 s), so without this the last segment
            ran past EOF and ffmpeg would have written a short final track in
            silence.
Now: contiguous, starts at 0, sums to 3661.2 s — exactly the master's length.

AND A SHADOWING BUG FOUND WHILE FIXING IT. The per-segment loop bound `start`
and `end`, the same names as the take window, so the summary line printed the
LAST SEGMENT as if it were the whole take: "1970-01-01 01:55 — 5.1 min". The
segments were correct the whole time; only the report lied. That is the kind of
defect that ships, because the payload looks right and nobody re-reads a header.

GENERATIVE METADATA, per PLN's ask, derived not typed:
  title    backlog.md via setlist.py (the SSOT reaches the ID3 tag)
  TBPM     backlog BPM, NOT setcps — reference_tempo_from_audio, setcps is not
           felt tempo. gimme_acid is setcps 80 played as 160 half-time DnB, and
           you_my_sunshine is setcps 144 against a felt 166. Tagging 80 would
           have been a measured number that misleads.
  grouping the set section (Ouverture / SUNSET / NuJazz / NUIT)
  comment  orbit inventory from the .tidal via pvlint's parser, plus the source
           path, so any track can be traced back to the code that made it

Metadata says REHEARSAL, not gig: album "OPAL 2026 — rehearsal, J-6", date
2026-08-02, no venue, no lineup, no poster (feedback_metadata_vs_mastering — gig
metadata is canonical only in Web/www/next/content/lives/).

lime_tacos is track 7 at 1:49. He played it, then cut it from the set an hour
later. The take records what happened, so it stays, tagged "not in the final
set".

Committed: segments.json, track_metadata.json, analysis.json — the provenance.
Gitignored: the FLACs and MP3s, ~1.3 GB of derived audio regenerable from the
Ardour stems in two commands.

`tidal-ears master mix` has the right recipe and this reuses it verbatim. What
it does not know is how Ardour lays out a take, and that produced two defects
that only appear on this material — both of which I only caught by inspecting
the output file rather than trusting "Done:".

  1. MONO. Ardour writes each orbit as TWO mono files, `Take95_Tidal 04-1%L.wav`
     and `%R.wav`. Globbing all 24 into amix sums them into ONE channel. The
     stereo image is gone — and ParVagues pans deliberately (`# pan 0.8` on the
     hats, `0.2` on take_5's sleepwalker), so that is not a technicality, it
     discards a compositional layer silently. Each pair is now `join`ed into
     stereo first and the mix is 12 stereo streams.

  2. 192 kHz. loudnorm resamples internally to 192 kHz to measure true peak, and
     with no explicit output rate ffmpeg keeps it. A 48 kHz session produced a
     624 MB 192 kHz file carrying no extra information. `-ar` is now pinned to
     the source rate. NB this one affects every master the sister tool has made.

UNIFORM TRIM, not per-stem normalisation. gain_for_stem normalises each stem
toward a target peak, which is right for stems of unknown provenance and wrong
for these: PLN balanced these twelve orbits by hand, on faders, while playing.
Normalising individually rewrites that balance — measured at 4.0 dB of shift on
Take95, mostly making the hats hotter. One trim for every stem preserves the mix
he played; loudnorm sets the absolute level. Same conclusion take-lens reached.

AND THE MEASUREMENT ITSELF HAD A TRAP. The first version used `volumedetect`,
which reports max_volume against a fixed-point full scale and SATURATES at 0.0
dB. Every one of these float stems read as exactly +0.0, so the derived trim was
-6 dB when the truth needed -19.3. Twelve identical +0.0 readings is not data,
it is a clipped instrument — `astats Peak_level` reports the real values and
they match the sister tool's analyze pass exactly (d4 +13.3, d3 -3.3).

Refuses to render if an orbit has only one side, rather than panning it hard.
Verifies channels and rate of its own output and exits non-zero if either is
wrong — the check that would have caught both original defects.

output/Take95/segments.json — 11 tracks over 61.2 min, derived from gig-log by
tools/take-segments.py rather than detected in the audio. Committed because it
is the provenance for the album's track boundaries and titles: without it, the
split is an unexplainable list of timestamps.

Titles come from backlog.md via setlist.py, so they are the same strings PLN
wrote, not a second copy that can drift.

  1. bombe_dj   3:53   |  2. wap        3:19  |  3. do_it_right  8:25
  4. take_5    10:19   |  5. piment     4:30  |  6. ouais_je_funk 4:54
  7. lime_tacos 1:49   |  8. perfect    6:52  |  9. gimme_acid    5:19
 10. vague      6:47   | 11. sunshine   5:04

lime_tacos is in the take at 1:49 — he played it, then cut it from the set an
hour later ('actually weak'). The take is a record of what happened, not of what
the set became, so it stays.

Third session running, he raised faders by hand and hit Ctrl+S, then asked the
right question:

    "ok raised and saved 10 and 12, saved, check again.
     but ideally we should not depend in that?"

He is right. The gate CAUGHT the problem all three times — the dependency was
never on the check, it was on him having hands free to fix it. On a Saturday at
19:00 in a field that is not a dependency you want.

THE MECHANISM, now understood: the Ardour session IS the boot state. He ends a
set with the faders pulled down, which is what you do at the end of a set,
Ardour saves that, and the next launch comes up silent. Today's save had NINE of
twelve at -inf, and all 15 setlist tracks would have lost an orbit — d10 carries
the riser convention (#33), so all ten risers would have been silent and he
would never have heard them go.

tools/fader-baseline.py: --capture / --check / --restore.

WHY THIS IS ALLOWED TO WRITE FADERS when the standing rule says never to. The
rule exists for three reasons — it desyncs the file from the physical desk,
CC77 down is total silence, and levels are MUSICAL INTENT an agent must not
invent. All three are about INVENTING a level on a LIVE desk. This does neither:
it replays a value PLN set and approved (stamped with date and source session),
it refuses to write under a live session so the desk always wins, and it can
only address routes named "Tidal NN" — Master, monitor and busses are not
reachable by this tool at all. It writes a .bak first, because a corrupted
performance session six days out is not a recoverable mistake.

--capture REFUSES if any fader is silent. Capturing end-of-set silence as the
baseline would enshrine the exact bug this undoes.

Baseline captured while the mix was green: 12 faders, 01 at 0.0 dB through 09/12
at +6.0 dB.

PROVEN BY MUTATION on a COPY, never his live session: pull the same nine faders
to 0.0, --check reports all nine with their baseline deltas and exits 1,
--restore puts them back, and check-mix.py independently agrees every orbit
reaches master again.

AND THE TEST FOUND A REAL BUG IN THE GUARD. The first version asked "is ANY
Ardour running" — the safe-LOOKING answer and the wrong one, because it refuses
to repair a session nobody has open, and it made the restore path untestable
while his live session was up. The hazard is writing UNDER a live session, so
the guard now matches on the resolved session path. Still refuses his open one;
no longer refuses everything.

Wired in two places: a HARD "fader baseline" check in the gate, and a --converge
action that restores automatically when Ardour is closed. gig-up: GO, and
--converge is a clean no-op on a healthy rig.

Last KRK day. The chart PLN asked for, and the honest reading of it: the SET is
finished and derived rather than maintained, the TOOLING is done and should stop
there, and the long pole is REHEARSAL — 11 of 14 tracks played, three never
heard this cycle, and those three are the FINALE and ENCORE.

gig-up is NO-GO on exactly one thing and it is not code: nine of twelve Ardour
faders sit at -inf in the saved session (#124, third recurrence). Mechanism now
suspected — he ends a set with faders down and that is what Ardour saves, so the
saved session is a snapshot of end-of-set silence. Thirty seconds to fix today,
but #20's template is the real answer before Saturday.

Pacing measured for the first time rather than guessed: Take95 ran 61.2 min for
11 tracks = 5:34 each, so 14 tracks is ~78 min against a 90 min slot. Twelve
minutes of slack.

Also carries the buffer-clobber warning for tomorrow's editing session: close
and reopen any tab open yesterday, because Window: Reload does not do it.

Today's buffer clobber should have been caught. It was not, for two reasons that
are each worse than the bug:

1. tools/check-drift.sh was NOT wired into gig-up.sh at all. Grepping this file
   for it returns nothing. The memory note claiming it was wired in was simply
   wrong, and had been trusted since.
2. The script was mode 100644, so invoking it exits 126 (permission denied) —
   the FOURTH occurrence of the chmod-vs-git-mode bug, and the reason the "tools
   executable" check exists. check-drift.sh was not in that check's list either.

A check that exists, is documented as guarding the gate, and is never called is
worse than no check: it buys confidence it does not deliver. That is the same
lesson as the two dead checks found when gig-up was first assembled.

NEW HARD SECTION 1c "surface grid intact", asserting two things:
  * check-drift.sh passes (the committed grid still holds)
  * migrate-columns.py --plan reports 0 moves (the WORKING TREE needs none)

The second is what actually caught today's clobber. When Pulsar wrote its stale
buffer over wap.tidal, d4's octer knobs reverted ^32 -> ^52, undoing a migration
committed and pushed hours earlier. That was invisible in `git status` — the
file just reads as modified, mixed in with PLN's own real edits. What made it
visible was migrate-columns being IDEMPOTENT: 0 moves one minute, 1 move the
next. Any property a tool can re-derive is a property a gate can assert.

PROVEN BY MUTATION, and the first mutation was wrong in a useful way. Flipping
ONE knob ^32 -> ^52 did not trip the check, and that is correct: B4 and C4 are
both legal d4 slots, so two effects merely swapping slots is not drift. The real
clobber put BOTH effects on ^52 — one knob driving two effects — and that trips
it immediately, printing the offending moves. Had I stopped at the green run I
would have shipped a check I believed in for the wrong reason.

Also adds check-drift.sh and take-segments.py to the executable-bit check, and
records 100755 for both in git.

Splitting a livecoded set by listening to it is hard, and we have the scars for
it: orbits stay up across a transition, there is no silence at the seam, and a
gap-based detector finds the breakdowns instead of the track changes.

But gig-log has been writing the answer at 1 Hz this whole time. Every time the
active .tidal file changes in Pulsar it records

    {"k":"track", "path":"live/collab/raph/mafia_sans_serif.tidal",
     "from":"live/midi/nova/dnb/liquid/you_my_sunshine.tidal"}

which is ground truth for WHAT was playing, for free, with no DSP. The audio
never had to be interrogated at all.

THE ONE COMPLICATION is that PLN tabs around while he plays — glancing at the
next track, checking a helper, flicking back. Take95 contains
wap -> do_it_right -> wap -> do_it_right inside 90 seconds. So a segment
shorter than --min-dwell is a GLANCE and gets absorbed into whichever NEIGHBOUR
is longer (the track you were on, not the one you peeked at).

Debouncing needs a fixed-point loop, not one pass: dropping a glance can leave
two spans of the same track adjacent, merging those can leave a span that is
still under threshold. Take95's take_5_drops/do_it_right flicker takes three
rounds to settle. 29 raw events -> 11 tracks.

Window comes from the AUDIO (soxi duration + mtime of the stems), not from the
log, so a recorder still running after the transport stopped cannot stretch the
take. Titles come from tools/setlist.py, so a rename in backlog.md reaches the
ID3 tag — the SSOT rule now extends all the way to the export (#123).

Emits the --segments shape `tidal-ears master split` already accepts, so the
mastering pipeline needs no changes.

Take95 (2026-08-02, 61.2 min): 11 tracks, bombe_dj through you_my_sunshine —
which is exactly where PLN said he stopped ("didnt play desire/revolution/
hammer").

PLN: "in you my sunshine the bass easily saturates too, not sure if code or
ardour setup". Code, measurably — and the same number as this morning's kick.

d4 is not one bass, it is two playing at once: a `superimpose (const ...)`
bassWarsaw plus the chopped no_sunshine loop. ^32 crossfades between them:

    superimpose   # gain (range 0.5 2   "^32")   ->  peak +24.1 dB at ^32 max
    main          # gain (1.8 - 0.6 *   "^32")   ->  +20.4 dB at ^32 UNTOUCHED

Both are crushed off the same ^52. So the orbit is loudest at BOTH ends of the
crossfade and its default resting state is +20 dB — a fader ride cannot rescue
that, because the shape is wrong, not the level.

Now `range 0.5 1.5` and `1.5 - 0.3 * ^32`: both ends land at +14.1 dB, so the
crossfade holds roughly constant loudness instead of bulging. This is
[[reference_superdirt_gain_is_quartic]] applied a second time in one day — the
gain^4 exponent is why 2.0 reads harmless and meters at +24.

Also: "d3 should also be the classic techno runner companion on 43, so it
hits(4,8,1)". ^43 was a bare `ply 2`. Now `ply 2 . struct "t(4,8,1)"` — struct
puts the hats ON the euclid rather than thinning what is already there (mask can
only remove), and ply doubles each into a running 8. Released, the liquid
pattern returns.

REAPPLIED after a buffer clobber: wap's d4 octer/octersubsub had reverted from
^32 back to ^52 when Pulsar wrote its stale buffer on close. Exactly
[[reference_pulsar_buffer_clobber]], and exactly what #95 exists to prevent.
Caught because migrate-columns --plan is idempotent and went from 0 moves back
to 1. PLN's own new FIXME on that line ("too wobbly... not fan of the 44/76
slicing") is preserved.

SET REORDERED by PLN: gimme_acid -> mafia -> sunshine -> vague -> desire.
"sunshine great cinematic ending, but sunshine-to-vague-to-desire makes more
sense imo." vague->desire is now a CLEAN transition, and sunshine's 166->120
drop into vague is the one seam to watch. Setlist and preload regenerated from
backlog.md; 52 banks cover all 15 tracks.

PLN added quand_on_decolle under a new ## SOUNDCHECK heading mid-session. The
gate caught both downstream consequences without being asked:

  setlist vs backlog  FAIL -> the .txt was 14, backlog.md was 15
  preload covers set  FAIL -> 'airports' would have been read from DISK on
                              first play, i.e. crackle, on the soundcheck track

That is the #120 failure mode caught BEFORE the venue instead of at it, and it
is the second time in two days the backlog->setlist->preload pipe has earned
itself. gig-up: GO, 10/10 cold.

preload.scd takes effect at the next SuperDirt boot — NOT applied live, since
scsynth is up and restarting it costs ~15s of silence.

Densest ear-feedback session logged so far, and the finding that makes it worth
re-reading: not one of PLN's 'it sounds wrong' reactions was a mix problem.

  'muffed'      -> a SynthDef's own 1 kHz Moog lowpass, no cut group, shared bus
  'loud'        -> SuperDirt amplitude is gain^4, so `# gain 2` is +24.1 dB
  'irritating'  -> a literal ascending scale being used as a melody
  'no buttons'  -> CCs that were never mapped
  'weak'        -> the one track the column remap never reached

Includes the gain->dB table and the measured claim that the OPAL set's median
orbit sits at +11.7 dB while four sit at +24.1 dB — and the rule that follows:
when an orbit clips, rank the track's orbits in dB before touching a fader. A
10 dB intra-track outlier is a bug; 2 dB is a mix choice. Feeds #91 and #17.

PLN, mid-run: "i hear no d7? or its muffed like '# att 0.2' or sth?" — then,
after experimenting: "tried adding 'arp up' before the chord, its now a set of 4
muffed short notes LOL. but d7 still muffed".

Read the SynthDef instead of guessing the synth (CLAUDE.md: never infer a
sound's role from its name, validate). SCLOrkSynths/SynthDefs/bass/moogBass.scd:

    arg ... cutoff = 1000, gain = 2.0, att, dec, sus, rel, chorus = 0.7;
    filter = MoogFF.ar(in: osc, freq: cutoff * (1.0 + (0.5*filterenv)), gain: gain)

A 4-pole Moog lowpass parked at 1 kHz, on a SynthDef whose own metadata reads
`category: \bass, tags: [\pitched, \bass]`. Every harmonic above 1 kHz is gone at
24 dB/oct. A "CHOEUR GENERATIF" voiced on a bass synth cannot be anything but
mud, and no amount of gain, room or crush was ever going to fix it. `# cutoff
3500` opens it — 2500 warm pad, 3500 choir, 6000 buzzy.

TWO TRAPS in this SynthDef, now written into the file where the next reader
will hit them:
  * it DECLARES att/dec/sus/rel and then ignores them — the envelope is a
    hardcoded Env.adsr(0.001, 0.3, 0.9, 0.2, amp). That is why PLN's `# sus 2`
    did nothing and he commented it out. Shape this voice with legato.
  * `gain` in this SynthDef is the MoogFF filter RESONANCE, not a level.

Three more real defects in the same orbit, all found by tooling, all fixed:
  * legato 2 -> 1.2. His new arp makes quarter-length notes; 2x overlap smeared
    them into each other. That is the "4 muffed short notes".
  * d7 had NO cut group at all, so held voices piled up — on a synth that also
    carries its own 7-tap chorus. Now `cut 7`.
  * crushbus restored, on slot 71 rather than d4's 41. The shared-bus case that
    became PV011 twenty minutes ago.

And PV004 caught one PLN had not mentioned: d11 (THE FLUTIST) and d12 (THE
SLEEPWALKER) both sat on `cut 11`, truncating each other instead of layering.
d12 now owns cut 12.

Also in this commit: mafia_sans_serif's d7, whose diagnosis is written up in
b8344ac1. take_5_drops now 0 errors / 0 warnings, silent-eval --seeded ok.

THE PHANTOM. PLN drafts in backlog.md, and he drafts in LIST ITEMS. Mid-run he
wrote himself a deliberation:

  -- Q: This intro is quite raptech. jazz intro? quand on decolle opening? reflect

and quand_on_decolle silently joined the OPAL set. The resolver's "codename
carries extra words" branch is a subset test, so {quand, on, decolle} being 3 of
those 13 words was a match. It then flowed downstream exactly as designed — into
the .txt, the preload plan, the remap scope and the gig gate. The pipe worked
perfectly, on garbage.

Two guards, because either alone is too clever:
  * _NOTE_RE skips items marked Q:/NB:/NOTE:/TODO:/FIXME:/IDEA:, and PRINTS what
    it skipped. A note dropped silently and a track dropped silently look
    identical from inside the parser, and only one of them is survivable.
  * the extra-words branch is bounded to 4 decoration words. Real entries spend
    at most 4 ("[129] Desire [TODO BASS ETC!]"); that note spent 10.

An UNMARKED prose line now RAISES instead of resolving. That is deliberate and
tested: red gate, PLN adds "Q:" or deletes the line. A phantom track goes to the
venue. Loud beats clever.

(He has since re-added quand_on_decolle under an explicit ## SOUNDCHECK heading,
as a real entry. It arrived carrying the full off-by-one-column corpus pattern —
11 moves — now migrated. That is the pipe working on something real.)

DEAD BUTTONS. PLN, playing: "not seeing effects on button 44 nor 43?" on
do_it_right, "no buttons 42 43?" on ouais_je_funk. They were not broken, they
were never mapped. Now:
  do_it_right   ^43  d3 hats — HIS OWN TODO implemented verbatim: "an opening
                     legato or att to make it slowly go from hard dry h to an
                     open ho? as in take 5 drops". Held, legato walks 0.4->2.5
                     and hpf 7k->2.5k over 8 cycles; released, it snaps back.
  do_it_right   ^44  d4 bass — octave down, DROP TO THE CELLAR
  ouais_je_funk ^42  d2 clap — the clap had no gate at all. Handclap roll.

d4's crush/octersub land on ^52/^32 exactly as PLN asked. That required
REORDERING the two lines, not renumbering them: migrate-columns assigns knobs in
order of declaration, so the file now carries a comment saying the order is
load-bearing. Fighting the tool by hand would just be undone next run.

Set: 15 tracks, 0 moves pending, silent-eval --seeded 15/15, pvlint 0 errors,
setlist tests all green (now pinning lime_tacos OUT and the phantom absent).

PLN, at rehearsal, on take_5_drops' d7 coming out muffled:

  "i saw also its crushbus was 41, a d7 with sub 4 is sus -- and two effects on
   same bus is a redflag as it means fighting for bus! so we gotta flag warning
   any 'bus nXY on dX' as sus (e.g. bus 41 (d4's) on d7 here), and any shared
   bus (^41 on d4 and d7) as PV error"

Two rules, exactly as specified.

PV014 (warning) — a bus slot numbered for a different orbit. The convention is
<orbit><slot>: d4 owns 41/42, d10 owns 101/102, and a bare `bus 4` on d4 is the
same idea with one slot. MEASURED before encoding it rather than assumed: 894
of 984 bus references under live/ conform, 90.9%. A real convention, not a
tidiness preference. Mis-numbering is *how you accidentally share* a bus, so
this rule sits upstream of PV011 and catches the cause, not the symptom.

PV011 promoted warning -> error. It shipped as a warning on the theory that
sharing a bus is legitimate glue. Rehearsal disproved that theory.

The asymmetry with PV008 is deliberate and now documented in both rules and
pinned by a test, so no future refactor quietly aligns them: yesterday PLN
DEMOTED a shared button to a warning ("its ok when two percs are linked"),
today he PROMOTED a shared bus to an error. A shared button is one hand doing
two things on purpose and you hear it instantly. A shared bus is two orbits
fighting over one effect instance with the winner decided by event density —
you don't hear a mistake, you hear a slightly wrong sound and blame the synth.
Surprises you can hear are warnings; surprises you cannot are errors.

THE PAYOFF, first run, in a track still in the set. mafia_sans_serif's d7 was
already carrying PLN's own note "FIXME ACID WEIRD NOT GOOD". It had THREE
collisions with d4's moog bass, none visible in the code:

    # cut 4        every acid note truncated the bass, and vice versa
    # crushbus 41  one crush instance, ^35 and ^32 fighting over it
    # octerbus 42  one octer instance, ^55 and ^52 fighting over it

d7 now owns cut 7 and slots 71/72. That is a diagnosis for a FIXME he wrote
without knowing the cause, produced by a rule written twenty minutes earlier.

Set is 0 errors / 9 warnings, silent-eval --seeded 14/14 ok, pvlint 68/68.