# PROJECT AUDIT - `song.als`
## Full Structural, Musical, Technical And Editing Audit

**Project file:** `C:\Users\ren\Desktop\song Project\song.als`  
**Auditor:** Codex  
**Date:** 2026-04-03  
**Context:** The goal is no longer only to generate songs. The system must also be able to open, inspect and improve existing Ableton projects until they feel professional.

---

## 1. Executive Summary

This project is not a finished song yet.

It is a **usable skeleton with a decent palette**, but it still behaves more like:

- a generated arrangement scaffold
- several isolated audio blocks
- a missing harmonic spine
- a bus/mix structure that looks more advanced than the actual arrangement quality

The good news:

- it already looks much better than the worst earlier MCP generations
- it uses a more coherent reggaeton palette
- it avoids the total “random garbage session” problem
- it has enough structure to become a real song through editing

The bad news:

- the arrangement is too long relative to the declared structure
- the rhythmic backbone is broken into islands
- the harmonic MIDI track exists but is empty in Arrangement
- the main harmonic material disappears for very long spans
- some “bus architecture” exists visually, but the musical result is still under-arranged

My overall verdict:

- **good raw material**
- **not professional yet**
- **worth editing**

---

## 2. Audit Method

This audit was done from:

1. the actual `.als` file on disk
2. direct XML inspection of tracks, clips, devices and scenes
3. opening the set in Ableton Live

Important limitation:

- MCP transport was closed in this Codex session during the audit, so this review is based on the real `.als` structure, not on live MCP track interrogation

That still gives enough truth for a serious production audit.

---

## 3. Hard Facts Extracted From The Project

### 3.1 Project basics

- File: `C:\Users\ren\Desktop\song Project\song.als`
- Tempo: `95 BPM`
- Scene names:
  - `INTRO [8 bars]`
  - `BUILD [8 bars]`
  - `DROP A [16 bars]`
  - `BREAK [8 bars]`
  - `DROP B [16 bars]`
  - `OUTRO [8 bars]`

### 3.2 Track count

The project contains `20` tracks total:

- `2` MIDI tracks
- `14` audio tracks
- `4` return tracks

Track list:

1. `1-MIDI`
2. `DRUM BUS`
3. `BASS BUS`
4. `MUSIC BUS`
5. `VOCAL BUS`
6. `FX BUS`
7. `AUDIO KICK`
8. `AUDIO CLAP`
9. `AUDIO HAT`
10. `AUDIO BASS`
11. `AUDIO PERC MAIN`
12. `AUDIO PERC ALT`
13. `AUDIO TOP LOOP`
14. `AUDIO SYNTH LOOP`
15. `AUDIO SYNTH PEAK`
16. `HARMONY_PIANO_MIDI`
17. `A-MCP SPACE`
18. `B-MCP ECHO`
19. `C-MCP HEAT`
20. `D-MCP GLUE`

### 3.3 Declared structure vs real arrangement length

The declared scene structure adds up to:

- `64 bars`

At `95 BPM`, that should be roughly:

- `161.684 seconds`

The actual maximum arrangement end found in the project is:

- `416.0 seconds`

That means the real arrangement is about:

- `2.573x` longer than the declared structure

This is a major structural mismatch.

It means one of these is true:

1. the section naming is wrong
2. the commit process stretched the arrangement badly
3. the source clips were duplicated in a time scale that does not match the intended scene map

---

## 4. What Is Actually Good

### 4.1 The palette is not random

The project is at least using a recognizable reggaeton/perreo palette:

- kick
- clap/snare
- hat
- bass loop
- perc loops
- top loop
- synth loop
- short synth lead accents

This is much better than a fully incoherent session.

### 4.2 Bass continuity already exists

`AUDIO BASS` is the strongest existing spine in the project.

It carries almost the entire song with the same source:

- `Midilatino_Sativa_A_Min_94BPM_Reese`

That gives the track a continuous low-end floor instead of total collapse.

### 4.3 There is already a usable return framework

The return setup is not empty decoration:

- `A-MCP SPACE`
- `B-MCP ECHO`
- `C-MCP HEAT`
- `D-MCP GLUE`

There is at least the beginning of a coherent effect architecture.

### 4.4 No vocal clutter

At least in this project snapshot:

- there are no automatic vocal layers in the main arrangement material

That is good and should remain true.

---

## 5. What Is Broken Musically

### 5.1 The drums are not acting like a groove bed

This is the single clearest structural problem.

The “drum core” coverage extracted from the project is only:

- `192.0 seconds` of material over `416.0 seconds`
- coverage ratio: `0.462`
- largest gap: `48.0 seconds`

That is catastrophic for groove continuity.

The drum backbone is behaving like:

- one clip
- then empty space
- then another clip

instead of:

- a sustained rhythmic bed with controlled variation

### 5.2 The harmonic core is even more fragile

The “harmonic core” extracted from:

- `AUDIO SYNTH LOOP`
- `AUDIO SYNTH PEAK`
- `HARMONY_PIANO_MIDI`

has only:

- `224.0 seconds` of coverage over `416.0 seconds`
- coverage ratio: `0.538`
- largest gap: `96.0 seconds`

That means the track can go more than a minute and a half without real harmonic support.

This perfectly matches your complaint:

- one decent loop
- then a hole
- then another block

### 5.3 The MIDI harmony track exists but is empty

`HARMONY_PIANO_MIDI` is present as a track and contains:

- device: `InstrumentVector`

But in Arrangement it has:

- `0` MIDI clips

This is one of the biggest missed opportunities in the project.

That track should be carrying:

- harmonic glue
- transitions
- sustained identity
- counter-lines or supporting motifs

Instead, it is currently just a placeholder.

### 5.4 The song is too repetitive at the source level

Unique clip-name count in the whole project:

- `11`

Most repeated materials:

- `95bpm filtrado drumloop` -> `19` clip instances
- `SS_RNBL_Engaño_One_Shot_Kick` -> `12`
- `SS_RNBL_Amor_One_Shot_Snare` -> `12`
- `hi-hat 1` -> `12`
- `Midilatino_Sativa_A_Min_94BPM_Reese` -> `12`

This is not automatically wrong.

But in this project it becomes a problem because:

- repetition is not counterbalanced by strong MIDI development
- repetition is not counterbalanced by evolving arrangement density
- repetition is not counterbalanced by purposeful automation arcs

### 5.5 The arrangement is long but not narratively developed

The project is around:

- `6m 56s`

But musically it does not yet justify that duration.

Right now the song feels much closer to:

- a short idea stretched too far

than to:

- a long arrangement with enough narrative evolution

---

## 6. Track-By-Track Production Audit

### 6.1 `AUDIO KICK`

Current state:

- uses `SS_RNBL_Engaño_One_Shot_Kick`
- 12 very short clips
- one clip every ~32 seconds
- each clip only ~`2.399s`

Assessment:

- this is not functioning as a proper kick arrangement
- it reads like kick stabs placed on a grid, not a beat foundation

Action:

- convert this into real pattern coverage
- either make the clips much longer
- or create a contiguous kick pattern per section
- add section-specific density changes, not giant empty spans

### 6.2 `AUDIO CLAP`

Current state:

- uses `SS_RNBL_Amor_One_Shot_Snare`
- same structural problem as the kick
- isolated short clips every ~32 seconds

Assessment:

- the snare/clap is not the specific problematic `Me_Gustas` sample
- but it still behaves too episodically
- the issue is more structural than tonal here

Action:

- turn it into a real clap/snare pattern bed
- maybe soften or layer it if it still feels too hard
- but the first job is continuity, not sample replacement

### 6.3 `AUDIO HAT`

Current state:

- one tiny hat shot every ~32 seconds
- each clip only ~`0.092s`

Assessment:

- this is functionally decorative, not a groove layer

Action:

- replace with a repeated hat pattern or longer clipped hat performance
- hats should help glue sections, not puncture them

### 6.4 `AUDIO BASS`

Current state:

- strongest track in the project structurally
- continuous coverage from `0` to `416`
- same source almost all the way

Assessment:

- useful spine
- too static if left alone

Action:

- keep as the low-end foundation
- add section automation:
  - filter
  - gain contour
  - width control where appropriate
  - drop emphasis
- create at least one alternate bass treatment for break/drop contrast

### 6.5 `AUDIO PERC MAIN`

Current state:

- repeated `95bpm filtrado drumloop`
- 16-second blocks every 32 seconds

Assessment:

- this is the exact island pattern causing the “good block then empty block” feeling

Action:

- either make this nearly continuous
- or deliberately alternate it with another percussion bed so the groove never collapses

### 6.6 `AUDIO PERC ALT`

Current state:

- same source as `AUDIO PERC MAIN`
- partially fills some middle sections

Assessment:

- useful idea
- currently too redundant and too sparse

Action:

- convert this into real contrast
- use it for section emphasis, not as a weaker duplicate of the main perc loop

### 6.7 `AUDIO TOP LOOP`

Current state:

- starts only after `64s`
- very short 8-second clips

Assessment:

- this is fine as a lift layer
- but not enough to carry arrangement excitement

Action:

- keep it as section lift
- increase contrast between A and B sections
- automate filter and send level more aggressively

### 6.8 `AUDIO SYNTH LOOP`

Current state:

- `Midilatino_Sativa_A_Min_94BPM_Pluck`
- main harmonic identity
- coverage only in the middle of the track
- absent from intro and ending

Assessment:

- this is probably the strongest “song identity” layer after bass
- but it vanishes too long

Action:

- keep this source
- use edits, chops, filtering and section-based resampling
- but do not leave the song without harmonic support before/after it

### 6.9 `AUDIO SYNTH PEAK`

Current state:

- very short 4-second lead punctuations

Assessment:

- useful accent layer
- not enough on its own to solve melodic identity

Action:

- keep as accent
- do not rely on it as the main melodic statement

### 6.10 `HARMONY_PIANO_MIDI`

Current state:

- device exists
- no Arrangement clips

Assessment:

- biggest missed opportunity in the whole set
- this track should be the editable harmonic layer

Action:

- if the “no piano” rule remains active, rename/revoice it
- keep the track as harmonic MIDI, but use a non-piano timbre
- add clips through the full song
- use it to:
  - bridge intro -> build
  - support the synth loop
  - fill harmonic holes
  - create variation without depending only on audio loops

---

## 7. Structural Diagnosis

### 7.1 The project is overlong for its actual content

The declared arrangement suggests something around:

- `2:42`

The actual arrangement is closer to:

- `6:56`

That is too much duration for the amount of real musical development currently present.

### 7.2 The song does not yet have a reliable spine hierarchy

A professional version needs:

1. rhythmic spine
2. low-end spine
3. harmonic spine
4. identity/accent layer

Right now:

- rhythmic spine is fragmented
- low-end spine exists
- harmonic spine is mostly missing
- identity layer exists but is too intermittent

### 7.3 The section map and the real timeline are out of sync

This matters because editing decisions depend on trustworthy sections.

Current problem:

- scene names say one thing
- arrangement timing says another

So before deep creative editing, the project needs a **true section map**.

---

## 8. Mix And Routing Audit

### 8.1 Buses exist, but they are not yet proving their value

The project contains:

- `DRUM BUS`
- `BASS BUS`
- `MUSIC BUS`
- `VOCAL BUS`
- `FX BUS`

Those tracks contain device chains, which is good.

But from the `.als` parse alone, they do not yet read like a clearly functional bus architecture.

Why:

- they have no clips
- the parsed routing strings are generic
- the real audible arrangement quality is still dominated by the direct audio layers

Assessment:

- the bus concept is good
- the bus implementation needs verification and probably cleanup

### 8.2 Returns are a solid starting point

Return devices are sensible:

- space
- echo
- heat
- glue

This is a good framework.

But the song still needs:

- clearer send strategy by role
- more deliberate transitions
- more contrast between dry sections and effected sections

### 8.3 Device load is light, which is fine

This is not an overprocessed project.

That is a strength.

The problem is not “too many effects”.

The problem is:

- not enough arrangement intelligence
- not enough harmonic continuity
- not enough dynamic evolution

---

## 9. Immediate Manual Improvement Plan

## Phase 1 - Make It A Song

This is the first pass I would do manually in Ableton.

### 9.1 Build a true section map

Create locators for the real song, not the broken generated timing:

- Intro
- Build A
- Drop A
- Break
- Build B
- Drop B
- Outro

Then decide:

- keep the current `~6:56` scale and rewrite enough content to justify it
- or cut the project down hard to something closer to `2:45 - 3:45`

My recommendation:

- **shorten first**

### 9.2 Fix the harmonic spine immediately

`HARMONY_PIANO_MIDI` must stop being empty.

Use it as:

- non-piano harmonic MIDI support
- sustained pluck/synth support
- chordal or motif support where the audio loops disappear

Goal:

- no large harmonic dead zones

### 9.3 Rebuild drums as real continuity

The kick/clap/hat structure cannot stay as isolated one-shots every 32 seconds.

Minimum target:

- a continuous rhythmic bed through all main sections

Variation should come from:

- muting parts inside phrases
- fills
- filter shifts
- transient layering

Not from:

- giant empty spaces

### 9.4 Rework `AUDIO PERC MAIN` and `AUDIO PERC ALT`

Do not leave them as blunt alternation islands.

Make them behave like:

- main groove bed
- complementary groove variation

not:

- same loop appearing and disappearing in blocks

---

## Phase 2 - Make It Musically Interesting

### 9.5 Develop the synth loop instead of just repeating it

Keep `Midilatino_Sativa_A_Min_94BPM_Pluck`, but transform it:

- low-pass intro version
- full-range drop version
- chopped response phrase
- break texture version
- shorter turnaround version

The source can stay the same.

What must change is the role by section.

### 9.6 Give `AUDIO SYNTH PEAK` a real narrative job

Right now it is just a punctuation.

Use it as:

- call-and-response
- lead pickup before drops
- phrase-ending punctuation

### 9.7 Create one true melodic motif

The track needs one memorable upper-mid identity.

That can come from:

- edited audio
- non-piano MIDI
- resampled pluck phrase

But it needs one motif that the listener recognizes as *the song*.

---

## Phase 3 - Make It Sound Finished

### 9.8 Make buses truly functional

Decide one of these two paths:

1. route everything properly through buses and mix there
2. remove fake bus complexity and keep a simpler direct mix

Do not keep decorative architecture.

### 9.9 Use returns more intentionally

Example direction:

- `SPACE` for atmos and controlled snare widening
- `ECHO` for synth tail moments and transition throws
- `HEAT` for selective percussion or lead aggression
- `GLUE` for bus cohesion, not as a blanket fix

### 9.10 Add section automation that means something

Good candidates:

- synth loop filter opening into drops
- top loop send rise in build
- bass saturation/brightness contour
- perc width contour
- FX bus push only at transitions

---

## 10. Concrete Production Ideas

### Idea A - Shorter, tougher club version

Target:

- `~3:00 - 3:30`

Method:

- keep bass continuous
- keep synth loop as main identity
- make drums more relentless
- use MIDI harmonic support to fill only strategic spaces
- trim the dead air hard

### Idea B - Darker perreo with stronger tension

Target:

- same palette
- more suspense

Method:

- keep the reese bass constant
- automate `AUDIO SYNTH LOOP` darker in intro/build
- bring `AUDIO SYNTH PEAK` in only for pressure points
- add a secondary dark harmonic MIDI layer

### Idea C - More song-like version with real hook

Target:

- still perreo/reggaeton
- but with a recognizable melodic statement

Method:

- make the MIDI harmonic track carry a motif
- use the pluck loop as support rather than the only idea
- create intro and outro variants that feel authored, not generated

---

## 11. What I Would Edit First In Ableton

If I were sitting in front of the set as producer/editor, this is the exact order:

1. duplicate the project and preserve the original
2. trim the arrangement length or mark the true section boundaries
3. populate `HARMONY_PIANO_MIDI` with non-piano harmonic MIDI
4. turn kick/clap/hat into actual continuous section patterns
5. rebuild `AUDIO PERC MAIN` / `AUDIO PERC ALT` as complementary groove layers
6. keep `AUDIO BASS` but add section automation and at least one contrast moment
7. reshape `AUDIO SYNTH LOOP` across sections instead of replaying it flat
8. use `AUDIO SYNTH PEAK` as accent, not as fake melody
9. verify buses and returns
10. only then do detailed mix polish

---

## 12. MCP / Editing Roadmap

This project also proves what the editing workflow should become for the MCP system.

### 12.1 The system must support project auditing

Needed feature set:

- open or inspect existing `.als`
- extract track map
- detect empty harmonic spine
- detect arrangement holes
- detect overlong structure vs declared structure

### 12.2 The system must support editing over existing work

Needed feature set:

- add MIDI clips to an existing harmonic track
- extend clips across sections
- duplicate/transform selected arrangement clips
- rebalance sends/volumes over an existing session
- rewrite only one section without regenerating the entire song

### 12.3 The system needs a gap detector

For this exact kind of project, the MCP should automatically report:

- largest gap in drum core
- largest gap in harmonic core
- tracks with decorative but non-functional content
- declared structure vs actual arrangement duration mismatch

### 12.4 The system needs a “make it professional” edit mode

Not generation from zero.

An actual edit mode that does:

- inspect
- score
- propose fixes
- apply fixes section by section

This project is the perfect benchmark for that next step.

---

## 13. Final Verdict

This set is **worth saving and editing**.

It already has:

- usable palette
- useful bass spine
- returns and basic mix framework
- identifiable perreo/reggaeton direction

What keeps it from sounding professional is not the absence of material.

It is:

- continuity failure
- empty harmonic spine
- stretched arrangement
- too much block-based placement
- not enough authored evolution

If we edit this correctly, it can become a real song.

If we leave it as-is, it stays in the category of:

- “generated scaffold with some good sounds”

not:

- “finished production”

---

## 14. Recommended Next Step

Do not generate a brand new song yet.

Work on this exact project in three passes:

1. **structural repair**
2. **harmonic and rhythmic continuity**
3. **mix and final polish**

This project is good enough to become the first real benchmark for the new “edit existing song” workflow.
