music/pass7/manifests/PASS7_FLORES_ROUNDS_STEM_MANIFEST.json
{
"_doc": "THE STEM MANIFEST -- one row per authored part, with its stratum, register slot, entry and exit, gain, pan and provenance. The layer count is a FIELD here, not an inference from a mixdown.",
"_honest_tier": "PASS7_FUNCTIONAL_HARMONY_GROOVE_SECOND_VOICE_MASTERED",
"_tier_meaning": "ROUND 4. Round 3 was graded down in one sentence -- 'it sounds just like a bunch of noise and these main melodies really suck. They clash and have no rythm or complexity ... Never any harmonies added on' -- and three of those complaints were one structural defect: the melody was composed in scale-degree space and the accompaniment from a static four-bar grid, by two processes that never spoke. Pass 7 gives the cue a real chord schedule with a harmonic rhythm and a cadence inventory, snaps the melody's structural tones onto it, derives a SECOND MELODIC VOICE in thirds and sixths on its own timbre, replaces every pad and arpeggio with a voice-led figure that IMPLIES the harmony rather than stating it, and lays a measured groove -- metrical hierarchy, accent profile, syncopation index, density ladder -- around the colotomic clock instead of across it. The antagonist's line now SHARES that harmony and carries menace by instrument, register, articulation and rhythmic displacement instead of by pitch-class disjunction. The structure is pass 5's, transformed rather than re-derived, so round 3's section map, holds, cut pairing and dynamic arc survive by construction. The sound is a CC0 community sample library played by an offline sampler in a synthetic room; no player has touched a note of it, and the honest tier is STRUCTURE plus a measured mix.",
"_not_claimed": [
"not heard -- no listening verdict stands behind any number in this file",
"not a scoring session; the sample sets are CC0 community libraries",
"not a claim that the render sounds like the tradition the plan references; the plan's care block states what is analogue and what is documented"
],
"_licence": {
"player": {
"tool": "sfizz",
"version": "1.2.3",
"licence": "BSD-2-Clause"
},
"sample_sets": {
"vsco2_ce": {
"repo": "sgossner/VSCO-2-CE",
"commit": "6dd651d55dde97fd4028699be9d4481f26917891",
"licence": "CC0-1.0",
"triggered_prohibitions": "none -- CC0 carries no conditions"
},
"vcsl": {
"repo": "sgossner/VCSL",
"commit": "dfcf4a4918771eee884b96ad4493de82ef84daf6",
"licence": "CC0-1.0",
"triggered_prohibitions": "none -- CC0 carries no conditions"
},
"legato_vocal": {
"repo": "sfzinstruments/legato_vocal_tutorial",
"commit": "fac6461ee4c7f498b23246eced644616fa58d2ec",
"licence": "CC0-1.0",
"triggered_prohibitions": "none -- CC0 carries no conditions"
},
"body_percussion": {
"repo": "sfzinstruments/body_percussion",
"commit": "4ac9d8966679c648b62fa10a188179e186b97f24",
"licence": "CC0-1.0",
"triggered_prohibitions": "none -- CC0 carries no conditions"
}
},
"conditioning_rule": "NO sample from either set is a conditioning, fine-tune or LoRA input to ACE-Step or any other generator."
},
"cue_id": "PASS7_FLORES_ROUNDS",
"public_name": "Flores Highlands -- the caci rounds",
"theme_id": "REGION_FLORES_ISLAND",
"theme_family": "FLORES_THE_KEPT_COUNT",
"cue_purpose_class": "BATTLE",
"plan_path": "build/audio/pass7/plans/PASS7_FLORES_ROUNDS.json",
"audio": {
"mixdown": "D:/audio/pass7/PASS7_FLORES_ROUNDS/PASS7_FLORES_ROUNDS.wav",
"sha256": "c83c6994e81ac717ae6a58242b5ac006d0f06e03b4f39208f505aea5b258387d",
"sample_rate": 48000,
"stems_dir": "D:/audio/pass7/PASS7_FLORES_ROUNDS/stems"
},
"geometry": {
"beat_s": 0.40541,
"bar_s": 1.62162,
"cycle_period_s": 6.48649,
"cycle_period_bars": 4,
"beats_per_cycle": 16,
"total_cycles": 31,
"total_bars": 124,
"total_beats": 496,
"total_s": 201.08108
},
"mix": {
"peak_before_normalise": 0.222716,
"normalise_scale": 3.996126,
"peak_target": 0.89,
"declick_ms": 4.0,
"release_wrapped_s": 2.0,
"strata_rms": {
"foreground": 0.01568652,
"middleground": 0.00907226,
"background": 0.00829976
},
"strata_share": {
"foreground": 0.4745,
"middleground": 0.2744,
"background": 0.2511
}
},
"planned_metrics": {
"cycle_period_s": 6.4865,
"cycle_period_bars": 4,
"total_cycles": 31,
"total_bars": 124,
"total_length_s": 201.081,
"section_count": 18,
"section_mean_s": 11.171,
"part_count": 36,
"est_layers_max": 26,
"est_layers_mean": 17.839,
"est_layers_min": 4,
"n_entrances": 95,
"n_exits": 74,
"entrance_spread": 1.0,
"n_subtractions": 4,
"subtraction_cycles": [
12,
13,
14,
25
],
"peak_cycle_normalised": 0.7,
"n_novelty_events": 21,
"novelty_per_cycle": 0.677,
"max_cycles_unchanged": 3,
"n_returns": 7,
"transformation_share": 1.0,
"hook_first_statement_cycle": 0,
"n_cuts": 2,
"planned_drops": 6,
"planned_drops_per_min": 1.79,
"planned_boundaries_per_min": 5.371,
"predicted_structural_yield": 3.0,
"crowding_index": 0.0,
"percussion_slot_max": 3,
"separation_index": 0.5436,
"strata_present": [
"background",
"foreground",
"middleground"
],
"strata_part_counts": {
"foreground": 11,
"middleground": 12,
"background": 13
},
"strata_gain_share": {
"foreground": 0.4668,
"middleground": 0.269,
"background": 0.2642
}
},
"care": {
"allow_register": "this page's Section 10 documented instruments and technique, reference-composed",
"deny_register": "no consecrated-performance sampling and no fine-tune on one (the sourcing law); no region's own register used as the threat signal, systematically darkened, inverted or menace-coded (CVD 17.1 collective protection expressed in music -- the darkening operations belong to the antagonist material and travel WITH it, never with the place); nothing this page does not attest",
"sources": [
"registries/T0_Theme_Registry [DRAFT v0.1]/T0_Theme_Registry.csv :: REGION_FLORES_ISLAND.allow_register_list",
"registries/T0_Theme_Registry [DRAFT v0.1]/T0_Theme_Registry.csv :: REGION_FLORES_ISLAND.deny_register_list",
"_source/02_Tier_2_Region_Pages/flores_island.md:844 (Section 10)",
"docs/spine/CH_03.md:58 (combat_framing)",
"docs/spine/CH_03.md:226 (Hard-line handling: HL_0003, HL_0005, HL_0123)"
],
"honest_limits": [
"NO PITCHED GONG EXISTS IN EITHER CC0 SET. `Gong 1.sfz` maps three sampled strokes of one instrument, not three pitches, so the tuned-bronze half of a gong waning has no sample-level counterpart here at all. The pitched-metal lane is vibraphone, hand chimes, glockenspiel and xylophone: manufactured concert instruments standing in for tuned bronze, and declared as standing in.",
"THE TUNING IS 12-TET AND A GONG WANING IS NOT. No claim is made that this render is in the tradition's tuning; it is not, and no CC0 route to that tuning exists at this rung.",
"THE BAMBOO FLUTE IS A BAROQUE RECORDER. A wooden edge-blown pipe is the nearest thing either set carries; it is a European concert instrument and is named as an analogue.",
"THE PHRASE GRAMMAR IS CLASSICAL-PERIOD EUROPEAN PRACTICE. It is the FRAME around the region's own form and never a replacement for it: the gong-chime colotomic cycle governs the clock in all three cues and the sentence-and-period apparatus fills the melodic level inside it. Where the two disagree the cycle wins, which is why every phrase is laid on the cycle grid rather than the cycle being cut to fit a phrase.",
"THE KOTEKAN FIGURE SELECTION IS BALINESE PRACTICE APPLIED TO A MANGGARAI NODE, AND THAT IS A DECLARED IMPORT. The ornament lane's own care line warns against filling a documented Manggarai gap with Balinese kotekan because Balinese kotekan is what a composer knows. What is taken here is the general interlocking-cycle principle the region page itself attests for the gong-waning, realised by a figure-selection rule borrowed from a neighbour and named as borrowed; the page's specific gap is left open rather than filled with a plausible sentence.",
"NOTHING HERE HAS BEEN HEARD. Every number attached to these plans is a property of the writing or of a measured render; no listening verdict stands behind any of it.",
"ONE REPAIR WAS BUILT, MEASURED AND REFUTED IN THIS PASS, and it is recorded so the next lane does not spend a render on it. The road cue's composed silence measures -39.4 and -40.2 dB below the track's own p95 against the card's detector cliff at -40, so the card reports a silence fraction of 0.0 while the audio plainly dips; pass 3 reached -41.4 and -42.4 in the identical windows, and pass 4 is simply the louder render (p95 0.134 against 0.115) with tails that scale with it. TESTED: resting every non-long-tailed part for the WHOLE cycle rather than cutting it mid-cycle, so the ensemble really does empty to the two parts the novelty schedule claims. MEASURED: silence fraction 0.0 to 0.0008 -- a hundredth of the corpus median -- while the deepest drop fell from -15.6 dB to -6.61 (the corpus floor is -10.73) and the measured section count fell from 15 to 13. Two axes worse for a token gain on a third, and the mechanism is legible: a cue already thin at the window's start has no sudden drop AT it. The change was reverted. What DID move the drop depth was opening each cut one beat earlier, from -7.79 dB to -15.6, and that is kept.",
"WIDENING THE CUT DID NOT MOVE THE SILENCE FLOOR AT ALL -- identical to two decimal places before and after -- which is what said the residue is a ringing ensemble rather than an edge effect. The remaining route is a loudness and tail policy, which is GAP-183 (no mix, no space, no loudness doctrine anywhere in the corpus) and belongs to that gap rather than to a composition pass.",
"THE ROTATION IS A TREATMENT CHANGE AND ITS FLATNESS IS CHECKED, NOT ASSERTED. Every rotation event carries the energy of the plateau it sits in, `pass4_grammar.rotation_schedule` raises on a plateau whose energies are not identical, and the irama ladder's own elaboration rate is counted per cycle in that module's self-test. What the rotation cannot promise is that a self-similarity segmenter will hear it -- that is a measurement on a render and it is reported after the render rather than predicted here.",
"THE IRAMA IMPLEMENTATION IS A SIMPLIFICATION AND IT IS NAMED. Javanese irama moves the structural tempo and the elaboration density together across five levels; three are implemented here, the structural TEMPO is not changed at all, and what moves is the pokok's note spacing against a fixed cycle. That is density flow without tempo flow, which is half of the tradition's mechanism, used because the half that is implemented is the half that changes the treatment without changing the energy.",
"THE SURFACE SPLIT REDISTRIBUTES AND DOES NOT COMPOSE. Handing the division layer to the ornament instrument widens the carrier's rests, which is what the counter-melody needed; it does not make the ornament writing better, and the ornament part is the same notes it always was, now heard alone instead of doubled under the carrier.",
"THE MIRROR IS A REDISTRIBUTION AND NOT A COMPOSITION. The wood pair plays the metal pair's notes exactly; nothing is written for it. What it buys is that the family swap stops being a hole, which is a measured defect repaired. It does not make the interlocking writing better and no claim is made that it does.",
"NO VOICE IS USED IN ANY OF THESE THREE CUES AND THE PALETTE IS NOT THE REASON. The nine landed CC0 voice and body-percussion ids all resolve a key range as of tonight's instrumentation_cards repair; the region page attests no sung register at this node, and the deny_register line forbids what it does not attest.",
"THE ROOM IS SYNTHETIC AND SAYS SO. Mix, space and loudness are applied by harness/music_gen/mix_policy.py: a seeded exponential-decay stereo impulse (no third-party IR, therefore no IR licence and no attribution), and a loudness target MEASURED off the acquired exemplar corpus per class rather than taken from a broadcast spec. It is a diffuse field with no early-reflection geometry, which gives distance and decay and does not give a room shape.",
"THE GROOVE IS WRITTEN AS A COLOTOMIC STROKE LIST, NOT AS A SCORE, AND THE REASON IS A VALIDATOR RATHER THAN A CHOICE. pass2_plan.py:487-496 (V06) refuses a `score` pattern on an unpitched map, and `ostinato` carries one velocity for a whole layer, so `colotomic` is the only kind that can express an accent hierarchy on a drum. The per-cycle KEY rotation is reproduced exactly with every/phase; the per-cycle ACCENT rotation is not expressed and is not claimed.",
"THE HARMONY IS GENERAL CRAFT AND JRPG-SCHOOL GRAMMAR, NOT A FLORES HARMONIC THEORY. COUNTERPOINT_AND_VOICE_LEADING.md:507-509 declares the gong-waning substrate thin and says this lane must not fill the gap. Nothing in the chord schedule is offered as gong-waning practice; the cycle still governs the clock and the harmony is laid inside it.",
"NOTHING IN PASS 7 HAS BEEN HEARD. The honest tier is STRUCTURE. Round 3 measured better than round 2 on every structural axis and Josh graded it worse, which is exactly why a structural number is never a quality verdict here."
],
"threat_material_layers": [
"F09",
"F10"
],
"threat_material_note": "The broker's line is built from C, E flat and F -- three pitches the region's anhemitonic pentatonic does not contain. The menace is literally outside the place's scale, so it cannot be produced by darkening the ensemble's material and it travels WITH the broker by construction. The ensemble's velocity and register RISE across the broker's arrival rather than falling.",
"mechanism_supersession": {
"superseded_mechanism": "pass 3 through pass 5 scored the caci broker with two `counterline` layers written \"absolute\": True on pitch classes {0, 3, 5}, deliberately disjoint from the region's {2, 4, 6, 9, 11} (pass3_flores.py:1287-1288, :1436-1441; the mechanism is stated at pass2_realise.py:345-350). Josh graded that designed dissonance as the CLASH.",
"new_mechanism": "the broker SHARES the cue's functional harmony -- every pitch is a chord tone of harmony.HarmonicPlan.chord_at at its own onset -- and carries menace by four non-pitch means: instrument, register, articulation and dynamics, and rhythmic displacement.",
"canon": [
{
"source": "registries/T0_Theme_Registry [DRAFT v0.1]/T0_Theme_Registry.csv:28 :: REGION_FLORES_ISLAND.deny_register_list",
"quote": "no region's own register used as the threat signal, systematically darkened, inverted or menace-coded"
},
{
"source": "docs/proposals/music/LEITMOTIF_ARCHITECTURE.md:253-260",
"quote": "an individual antagonist may be scored fully inside his own culture's register, with the same craft as that region's protagonist cues. A blanket register ban is the named failure, not the safe option."
},
{
"source": "_source/02_Tier_2_Region_Pages/flores_island.md:846-851",
"quote": "Documented instruments: the Flores gong-waning (the tuned gong-and-drum ensemble), central to the caci ceremony"
}
],
"why_the_old_mechanism_was_not_required": "nothing in canon asks the threat material to be OUT OF MODE. The deny list forbids darkening the PLACE's register; it does not forbid the antagonist from sharing the cue's harmony, and the leitmotif corollary says the opposite in terms. The pitch-class disjunction was a harness invention and it is retired here.",
"margins": {
"a_instrument": {
"brokers_are_pressure_role": [
"F09",
"F10"
],
"other_pressure_role_layers": [],
"brokers_among_section_10_analogues": [],
"of_the_place": {
"F09": false,
"F10": false
},
"citation": "sfz_palette.py:607, 611, 614, 617, 647"
},
"b_register": {
"F09": {
"reference": "ensemble_floor",
"reference_midi": 38.0,
"broker_max_midi": 35,
"broker_min_midi": 28,
"declared_margin": 3,
"margin_semitones": 3,
"margin_vs_every_floor": {
"ensemble_floor": 3,
"melodic_floor": 3,
"carrier_floor": 22
}
},
"F10": {
"reference": "carrier_floor",
"reference_midi": 57.0,
"broker_max_midi": 52,
"broker_min_midi": 52,
"declared_margin": 3,
"margin_semitones": 5,
"margin_vs_every_floor": {
"ensemble_floor": -14,
"melodic_floor": -14,
"carrier_floor": 5
}
}
},
"b_register_note": "the reference differs per layer and the reason is measured rather than chosen: a contrabass can sit under the whole ensemble including the sub drone, and a muted horn whose lowest mapped key is 46 cannot be under a drone sounding 38. F10's binding floor is therefore the CARRIER floor -- the tune it presses against -- and its margin against every other floor is reported beside it rather than hidden.",
"c_articulation_and_dynamics": {
"F09": {
"articulation": "tremolo",
"gain_margin_db": -6.5,
"velocity_margin": -38
},
"F10": {
"articulation": "mute",
"gain_margin_db": -7.5,
"velocity_margin": -42
}
},
"d_rhythmic_displacement": {
"F09": {
"onset_complementarity_vs_percussion": 1.0,
"onsets_on_occupied_positions": 0,
"mean_metrical_weight": 1.0,
"grid_mean_metrical_weight": 1.9844
},
"F10": {
"onset_complementarity_vs_percussion": 1.0,
"onsets_on_occupied_positions": 0,
"mean_metrical_weight": 1.0,
"grid_mean_metrical_weight": 1.9844
}
}
}
}
},
"parts": [
{
"id": "B01",
"instrument": "gong.stroke",
"role": "cycle_marker",
"stratum": "background",
"register_slot": "low_bass",
"pattern_kind": "colotomic",
"of_the_place": true,
"source_kind": "authored",
"gain_db": -11.0,
"pan": -0.1,
"entry_cycle": 0,
"exit_cycle": 31,
"rest_spans": [
[
12,
13
],
[
13,
17
],
[
25,
26
]
],
"active_cycles": 25,
"entry_s": 0.0,
"exit_s": 200.676,
"note_count": 56,
"measured_range": [
60,
62
],
"octave_transpositions": 0,
"unplayable_notes": [],
"cut_notes_removed": 0,
"doubles": null,
"promoted_from": null,
"cultural_licence": "_source/02_Tier_2_Region_Pages/flores_island.md Section 10 -- the documented ensemble, reference-composed with a declared concert analogue",
"raw_peak": 0.139832,
"contrib_rms": 0.00331117,
"stem_path": "D:/audio/pass7/PASS7_FLORES_ROUNDS/stems/PASS7_FLORES_ROUNDS.B01.gong_stroke.wav",
"stem_sha256": "dec3188dc483eed1c51d84c73ee54c4cf2f76aeda506088984f865d37cb10d67"
},
{
"id": "B02",
"instrument": "bass_drum",
"role": "pulse",
"stratum": "background",
"register_slot": "sub",
"pattern_kind": "colotomic",
"of_the_place": true,
"source_kind": "authored",
"gain_db": -14.0,
"pan": 0.0,
"entry_cycle": 0,
"exit_cycle": 31,
"rest_spans": [
[
13,
17
]
],
"active_cycles": 27,
"entry_s": 0.0,
"exit_s": 199.784,
"note_count": 104,
"measured_range": [
60,
60
],
"octave_transpositions": 0,
"unplayable_notes": [],
"cut_notes_removed": 4,
"doubles": null,
"promoted_from": null,
"cultural_licence": "_source/02_Tier_2_Region_Pages/flores_island.md Section 10 -- the documented ensemble, reference-composed with a declared concert analogue",
"raw_peak": 0.325165,
"contrib_rms": 0.00455114,
"stem_path": "D:/audio/pass7/PASS7_FLORES_ROUNDS/stems/PASS7_FLORES_ROUNDS.B02.bass_drum.wav",
"stem_sha256": "2ab4057c6a16d03131558036f2d0d6a9f584db2a7931b8c5f20be68cfc20591d"
},
{
"id": "B03",
"instrument": "frame_drum",
"role": "pulse",
"stratum": "background",
"register_slot": "bass",
"pattern_kind": "ostinato",
"of_the_place": true,
"source_kind": "authored",
"gain_db": -12.5,
"pan": 0.2,
"entry_cycle": 0,
"exit_cycle": 31,
"rest_spans": [
[
14,
17
]
],
"active_cycles": 28,
"entry_s": 0.0,
"exit_s": 200.818,
"note_count": 326,
"measured_range": [
60,
65
],
"octave_transpositions": 0,
"unplayable_notes": [],
"cut_notes_removed": 10,
"doubles": null,
"promoted_from": null,
"cultural_licence": "_source/02_Tier_2_Region_Pages/flores_island.md Section 10 -- the documented ensemble, reference-composed with a declared concert analogue",
"raw_peak": 0.560822,
"contrib_rms": 0.00533498,
"stem_path": "D:/audio/pass7/PASS7_FLORES_ROUNDS/stems/PASS7_FLORES_ROUNDS.B03.frame_drum.wav",
"stem_sha256": "cca195a955e68dec161ace3596bdb4f202332bca185ca8d4896163203e13062b"
},
{
"id": "B04",
"instrument": "tom.low",
"role": "pulse",
"stratum": "background",
"register_slot": "low_bass",
"pattern_kind": "colotomic",
"of_the_place": true,
"source_kind": "authored",
"gain_db": -14.5,
"pan": -0.3,
"entry_cycle": 1,
"exit_cycle": 31,
"rest_spans": [
[
13,
17
]
],
"active_cycles": 26,
"entry_s": 6.588,
"exit_s": 200.838,
"note_count": 302,
"measured_range": [
60,
65
],
"octave_transpositions": 0,
"unplayable_notes": [],
"cut_notes_removed": 10,
"doubles": null,
"promoted_from": null,
"cultural_licence": "_source/02_Tier_2_Region_Pages/flores_island.md Section 10 -- the documented ensemble, reference-composed with a declared concert analogue",
"raw_peak": 0.136841,
"contrib_rms": 0.00118389,
"stem_path": "D:/audio/pass7/PASS7_FLORES_ROUNDS/stems/PASS7_FLORES_ROUNDS.B04.tom_low.wav",
"stem_sha256": "9a75a1f06804ce5aaf6ff251740d9873ff37fbac47b2e51bcae9f3c03e3ab6eb"
},
{
"id": "B05",
"instrument": "tom.high",
"role": "pulse",
"stratum": "background",
"register_slot": "low_mid",
"pattern_kind": "ostinato",
"of_the_place": true,
"source_kind": "authored",
"gain_db": -15.5,
"pan": 0.32,
"entry_cycle": 2,
"exit_cycle": 31,
"rest_spans": [
[
14,
17
]
],
"active_cycles": 26,
"entry_s": 13.784,
"exit_s": 200.818,
"note_count": 152,
"measured_range": [
60,
65
],
"octave_transpositions": 0,
"unplayable_notes": [],
"cut_notes_removed": 4,
"doubles": null,
"promoted_from": null,
"cultural_licence": "_source/02_Tier_2_Region_Pages/flores_island.md Section 10 -- the documented ensemble, reference-composed with a declared concert analogue",
"raw_peak": 0.246613,
"contrib_rms": 0.00107705,
"stem_path": "D:/audio/pass7/PASS7_FLORES_ROUNDS/stems/PASS7_FLORES_ROUNDS.B05.tom_high.wav",
"stem_sha256": "ca9fc5b9ff96bd823a1e4959f1122ea41e3570b9a3c3dd45911a3ca25f0b2cc6"
},
{
"id": "B06",
"instrument": "shaker",
"role": "pulse",
"stratum": "background",
"register_slot": "air",
"pattern_kind": "colotomic",
"of_the_place": true,
"source_kind": "authored",
"gain_db": -19.0,
"pan": 0.44,
"entry_cycle": 1,
"exit_cycle": 31,
"rest_spans": [
[
14,
17
]
],
"active_cycles": 27,
"entry_s": 6.731,
"exit_s": 201.069,
"note_count": 843,
"measured_range": [
60,
62
],
"octave_transpositions": 0,
"unplayable_notes": [],
"cut_notes_removed": 21,
"doubles": null,
"promoted_from": null,
"cultural_licence": "_source/02_Tier_2_Region_Pages/flores_island.md Section 10 -- the documented ensemble, reference-composed with a declared concert analogue",
"raw_peak": 0.040131,
"contrib_rms": 0.00011378,
"stem_path": "D:/audio/pass7/PASS7_FLORES_ROUNDS/stems/PASS7_FLORES_ROUNDS.B06.shaker.wav",
"stem_sha256": "895cdf92170de73a32e8bec1b0191125f62fca5eb3697679c35e21d25a87228c"
},
{
"id": "B07",
"instrument": "body_perc.kit",
"role": "pulse",
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