v1 only saw a foreign ORBIT lighting up on the wrong side of a cut; it was blind
to a foreign SOUND on an orbit active on BOTH sides (e.g. breaks playing through
a transition). v2 (--spectral) closes that:
- per shared orbit, profile tail/head probe windows + each track's interior ref,
  composite timbral distance (band-shape cosine + centroid shift); flag when the
  tail sounds like the NEXT track (incoming) or the head like the PREVIOUS (outgoing).
- gated by MIN_REF_DIST (versions must differ) and SPEC_MIN_RMS=-50 (probe must
  have real sound — the silence gate caught 4 of my own false positives).
- independently flagged the WAP->'Plosive breaks bleed (orbit-08, Delta=0.475) that
  v1 missed = PLN's 'bordel jusqu'a 0342' zone; + Premier Septembre->Techno Orage.
- EDL now 9 ear + 7 orbit + 6 spectral derived rows; round-trips through MasterEDL.

Delta = severity rank; live crossfades blend by design, so PLN's ear gates feel.

#40 Judge annotations were stale+wrong: labels came from a hardcoded ROLE_MAP
(orbit-03 'hats' though punkachien.tidal plays 'dr'; d6/meth_bass missing) and a
hard -38dB on/off gate hid audible orbits that dip within a 2s bin (PLN saw only
d3 OR d8 while hearing both).
- tidal_score.py: parse per-orbit sound map from any .tidal (reuses tfidf vocab;
  also accepts the bare $ "sample" source form). dr/meth_bass/jungle_breaks now correct.
- audio_lens: classify_family() (breaks->tops, drums->percs by identity, register
  by measured centroid), profile peak_db. Fix orbit_files to try padded+unpadded
  channel names (Take89 uses 'Tidal 01-1' -> centroids were silently None).
- build_player_data: labels from score, family validated by centroid, two
  thresholds (litFloorDb -52 visible / activeDb -38 driving), emits validated PlayerData.
- OrbitRail: graded activation (dim->vivid), no orbit vanishes when quiet.

#42 DRY: pydantic models in models.py are the single source of truth; gen_ts_types.py
generates ui/src/types.gen.ts (types.ts is now a re-export). No more hand-synced shapes.

#41 WaveformPlayer: Audacity-style zoom (+/-/ctrl-wheel) + scroll, drag-select a span
and loop it (Regions plugin), keyboard L=loop. tsc + vite build green.

Embodies the division-of-labor principle: the machine flags OBJECTIVE boundary
leaks so PLN's ears judge only feel. Detector = exclusive-orbit ignition: at each
cut, an orbit core to one neighbour but not the other, lit on the wrong side (down
to a sensitive -55dB floor for quiet foreign onsets).

Validated on Take89 (Montreuil): independently caught BOTH of PLN's hand-flagged
bad_cuts — cut1 (Take5 bass pre-echo, "changement de basse avant le cut") and cut5
(Plosive→Jeudi Drill, the Bogdan stabs on d9/orbit-09, ~-48dB) — plus 5 new
candidates. Auto-populates master_edl_take89.json: 16 edits = 9 ear + 7 derived.

Mapping nailed down (was wrong first pass): stemmap orbit-NN == dN; Tidal's
`# orbit X` is SuperDirt-0-indexed → d(X+1) (so `# orbit 8` == d9). d8 = always
breaks. Honest coverage cap logged: a foreign SOUND on a shared+active orbit is
invisible at orbit level → v2 = spectral/per-sound novelty.

PLN: "samples and synths are the same class for fingerprinting." sample_tfidf now
indexes synthdef names (SC synthdefs/ + SCLOrkSynths quark + SuperDirt builtins)
alongside Dirt-Samples, tags each sound sample|synth, and persists kinds. vocab
871 sounds (293 samples + 63 synths used). septieme_armee signature now surfaces
moogBass/FMRhodes1/bassWarsaw — but all common (no rare tell): its identity is the
orbit-arrangement (the SNA riff), not a signature sound. L3 needs both signals.

Take35 identified by blind ear-test as Septième Armée (Seven Nation Army cover,
septieme_armee.tidal, 4:35), NOT the 38C3 "Pitbul Punk" the ±3d date-join guessed.
Corroborated by orbit→sound map (d4 bassWarsaw = the riff bass, etc.). take_gig_map
corrected; performance_notes logs the find + cover-license caveat.

audio_lens.py consolidates the spectral toolbox (profile / stemmap / mix) so the
machine catches OBJECTIVE audio defects autonomously, reserving PLN's ears for
subjective feel.

- profile(file): band-energy % + centroid → is_broadband() gate (centroid >140Hz
  and >18% energy above 150Hz). A pure-kick mix is centroid ~111Hz, mid<12% → FAIL.
- mix(take, --orbits): EXPLICIT numpy sum of local interchange stems (no amix black
  box, no freebox), peak-normalized, then SELF-VERIFIES the render is broadband and
  exits non-zero on FAIL. Caught + fixed the kick-clone bug that shipped twice.
- stemmap(take): per-orbit activity (driving/sparse/silent) for arrangement reads.

Take35 mix rebuilt via the tool (v3): cen 168Hz, mid present, PASS — replaces the
two broken kick-clone mixes (deleted). Lesson: measure your own output; extend the
toolbox, no /tmp throwaways.

EDL: seed_edl_take89.py + master_edl_take89.json (9 typed edits, 3 bad_cut labels)
from PLN's WH-1000XM5 review, logged in performance_notes.md. tasks/011 captures the
TF-IDF + verify-your-output story. #25 reframed: auto-detect boundary sample-leak.

First versioned import of L'Armada (media/marketing toolbox) plus this session's
tidalcycles→tracks tooling work. Audio kept out of git (armada/.gitignore).

Tooling:
- tools/sample_tfidf.py — sample TF-IDF over the local .tidal corpus (772 docs).
  Vocabulary = local Dirt-Samples folder names (custom packs symlinked in);
  sound-context extraction (s/sound/#) so mininotation booleans don't pollute.
  Derives discriminative samples: PunkAChien = vec1_acid(df18)+cpluck(df23);
  jungle_breaks(df78) is common filler. → sample_tfidf.json (validated).
- armada/tide-table/models.py — shared pydantic v2 models: Provenance, LocateCell,
  MasterEDL/MasterEdit, TfidfReport. Typed, JSON in/out, provenance-carrying.
- armada/tide-table/locate-matrix.md + build_track_recording_map.py — L0 metadata
  map (site tracklists × take_gig_map), canonical track id = .tidal path.
- armada/tide-table/seed_edl_take89.py + master_edl_take89.json — PLN's phone+
  WH-1000XM5 resplit review as 9 typed edits (3 bad_cut = detector ground-truth).
- armada/serve.py — Range-capable LAN static server for phone audition.
- armada/ui/ — Vite+React+TS+Tailwind Judge pilot (Ship's Bridge design system);
  PRODUCT.md + DESIGN.md design language.

Correction captured: the "Hamburg PunkAChien" was a misID (Insouciance→Liquid
Finale @ 39C3); real 38C3 PunkAChien = Take35 (pending ear-verify). meth_bass/d6
silence is a controller-ergonomics artifact, not a track tell — dropped as a
fingerprint feature. See performance_notes.md, tasks/010 + 011.

Sync-up of the workspace: edits across nova/collab tracks
(quand_on_decolle, take_5_drops, punkachien, jeudrill,
sunny_side_up, plosive, wap, perfect, techno_orage, ...),
new collab/solo pieces (mains_libres, the_revolution_will_be_sampled,
bois_bumbum, do_it_right, bullet_train), backlog/CLAUDE.md
project notes, perf.sh (CPU governor helper), and the
analyze_samples / fan_check / shipowiz tools.

Pulsar editor plugin rendering a track-aware HUD topbar
(role colors, LCXL spatial layout, header_comments). Was
sitting loose at ~/Work/Tools/pulsar-parvagues-hud with no
git; vendored into tools/ so the package travels with the
livecoding workspace and can be shared in one clone.

node_modules excluded; run `apm install` (or `npm install`)
inside the dir to set up.

28 output channels (+4), 14th orbit dedicated to tidal-ears audition.
No Ardour track needed — captured via PipeWire virtual sink.

TODO verify together: bass rewritten from pyin analysis (librosa),
kick LPF raised for click, d3 cut groups for OH ring-over, cello updated.
Bass was wrong — NTO uses sustained Bb1/F2 alternation with chromatic
slides, NOT F/A/C arpeggio. A2 never appears in any segment.

d5: keep dope slow-2x base, ^58 now layers fast 2 (original NTO speed)
d9: 90s_synatm:8 (99.7% low, 0% hi — warm, not windy)

d4 bass: octersubbus replaces lpfbus on ^53 (user preference)
d5 arp: 16-bar cycle with A3/C4 variations (demucs melody arc)
  Bb/F anchor bars + A3/F4 + A3/C4 + Eb/Gb variations
d7 cello: tighter room (0.25), shorter legato (1.2), rhythmic
  answer phrase on beat 3, mirrors bass V chord one octave up

Every voice now has subtle 32-bar sweeps matching NTO's arrangement evolution:
- d1 kick: lpf 700→250 (darker), room 0→0.15 (opening)
- d2 clap: gain 0.5→0.8 (grows into mix)
- d3 OH: n 5→9 (brightening), hpf 2k→5k, gain 1.2→1.5
- d4 bass: room 0.05→0.2 (space opens)
- d5 arp: room 0.2→0.5, sz 0.3→0.7 (tail grows)
- d6 piano: modIndex 1→3.5 (richer harmonics)
- d7 cello: room 0.3→0.6, gain 0.8→1.1 (presence grows)
- d9 pad: lpf 1.2k→6k (warm→bright), gain 0.7→1.0 (swells)
All manual controls preserved — automations are background evolution.

Full NTO drum character applied:
- d1 kick: att 0.05 (round thud), lpf darkening over time (saw 800→300)
- d2 clap: quiet (gain 0.7), dry (room 0.1), hpf 800 — mid-snap only
- d3 OH: evolving brightness (n6→n8), att 0.04 (soft onset),
  ^44 toggles whisper-shimmer mode (gain 0.3, hpf 6000, legato 0.15)
- Header: full drum voice analysis with centroid evolution,
  attack/decay times, peak levels per section

Deep demucs drum study findings:
- Kick: 8th note pulse (NOT 4otf), ghost doubles before drop
- Cymbal: THE defining texture, upbeat 8ths throughout most of track
- Clap: appears late (~200s) on contretemps (beats 1&3), ~1200Hz dry snap
- Drop at 2:20: kick disappears, pure cymbal upbeat 8ths
- Arrangement: kick 8ths → cymbal break → kick+cymbal+clap climax

Changes:
- d1 kick: rewritten as 8th note pulse, ^29 ghost double control
- d2 clap: ^43 ON = contretemps (beats 1&3), OFF = backbeat
- d3 hats: OH on every upbeat 8th, ^44 toggles cymbal breakdown mode

Major findings from demucs onset analysis:
- NTO bass uses ONLY F2/A2/C2 (V chord tones) — never sits on Bb root!
- Bass is rhythmically alive, not held notes. Varies each 2-bar phrase.
- Guitar(arp) stem evolves: F3/F4 base → Bb3/A3 mid → Gb4/E4 breakdown
- Piano: sparse Bb3 stabs with F3/A3, only in specific sections

Changes:
- d4 bass: rewritten as rhythmic V chord figure (f2/a2/c2 variation)
- d6 piano: NEW — sparse FMRhodes1 stabs, ^31 knob controls density
- d7 cello: reworked as counter-melody (sustained 5ths/3rds)
- d9 pad: fixed cut group collision (was cut 7, now cut 9)

NTO La Clé des Champs algoraoke:
- Bass: dropped to Bb1/F2 (demucs confirmed 58-87Hz range)
- Bass answer: V chord tones A2→C2→F2 (onset analysis, not Eb Db C)
- Answer timing: quarter notes over 2 bars (was 83ms triplets, now 500ms)
- Arp: simplified to <[bf4 f4]*8!6 [ef4 gf4]*8!2> (no note-flip)
- Cello d7: reworked as sustained counter-melody (5ths/3rds), not bass double
- Drums: added sometimesBy knob control (^30 clap flam, ^32 hat roll, ^52 legato)
- d8 breaks: full treatment (^92 ply, ^60 chop mode, ^36/^56 break switch)
- Header: rewritten with demucs spectral evidence and onset analysis data
- SC: s.volume=2 + StageLimiter.activate for output levels

Research + MIDI analysis of the original track:
- Key: Bb minor (harmonic minor dominant F)
- Arp from MIDI: 2-note 16th oscillation (Bf4/F4, order flips per chord)
- 16-bar cycle: Bbm(4) | F(4) | Bbm(4) | Ebm(4)
- Drums: 808bd+clubkick, h2o handclap, h2o hats (sparse offbeat)
- All melodic voices on MiOmi (bass, arp, pad, lead)
- Timbral faders for live "wider before drop" sweep (FM/detune/cutoff)
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>