fix(take_5_drops): the choir was muffled by a 1 kHz Moog filter, not by the mix

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.

live/midi/nova/lounge/take_5_drops.tidal

@@ -10,7 +10,7 @@ d1 $ gF1 $ gM1
   $ "[techno:0,808bd:2,909,kick:4]"
   -- $ "kick:5" 
   # gain 1.5
-  # lpf 400
+  # lpf 300
 d2 $ gF1 $ gM2 
   $ midiOn "^42" (<| "~ s ~ [s*<1 2> <~ s*<2 [4 2]>>]")
   $ midiOff "^42" (<| "~ s")
@@ -78,14 +78,34 @@ d7  -- CHOEUR GENERATIF ALONG THE BASS
     . (|+ note 12)
     )
     )
-  $ note ("<ef3 ef3 <fs3 fs3 cs3 bf3> ef3>" + "c6'maj'4") 
+  $ note ("<ef3 ef3 <fs3 fs3 cs3 bf3> ef3>" + arp "up ""c6'maj'4")
   # "moogBass"
-  -- # pan 0.4
+  -- WHY THIS WAS MUFFLED — read the SynthDef, don't guess the synth (CLAUDE.md).
+  -- 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 + 0.5*filterenv), gain: gain)
+  -- A 4-pole Moog lowpass parked at 1 kHz. Everything above it is gone at
+  -- 24 dB/oct, which is the entire reason a "CHOEUR" on a synth tagged
+  -- `category: \bass` reads as mud. Not the gain, not the room, not the crush.
+  # cutoff 3500          -- opens the Moog filter. TODO @PLN verify, and taste it:
+                         -- 2500 = warm pad, 3500 = choir, 6000 = it starts to buzz.
+  -- TWO TRAPS in this SynthDef worth remembering:
+  --   * 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 `# sus 2` below
+  --     did nothing when you tried it. Shape this voice with legato, not sus.
+  --   * `gain` in this SynthDef is the FILTER RESONANCE, not a level. Tidal's
+  --     `# gain` still means loudness (SuperDirt maps it to amp), so they don't
+  --     collide here — but don't reach for `# gain` expecting more bite.
   # gain 1.4
-  # room 0.3 
-  # crushbus 41 (range 16 3.5 "^55")
+  # legato 1.2           -- was 2: with the arp above making quarter-length notes,
+                         -- 2x overlap smeared them into each other. Your words:
+                         -- "its now a set of 4 muffed short notes LOL".
+  # cut 7                -- d7 had NO cut group, so held voices piled up on top of
+                         -- each other. moogBass also carries its own 7-tap chorus.
+  # crushbus 71 (range 16 3.5 "^55")   -- restored: was `crushbus 41`, i.e. d4's
+                         -- slot, so the bass and the choir fought over one crush
+                         -- instance. That is exactly the case that became PV011.
   # room 0.2 # dry 1.2 # sz 0.7
-  # gain 1.4
   # pan 0.4
 d11 $ gF3 $ gM3 -- THE FLUTIST
   $ slice 4 "<0 1 2 3>" 
@@ -97,10 +117,11 @@ d12
   $ gF3 $ gM3 -- THE SLEEPWALKER
   $ slice 4 "<0 1 2 3>" 
   $ n (slow 8 $ "<18 19 20 21 22 23 24 24>")
-  # "take5" # cut 11
+  # "take5" # cut 12   -- was `cut 11`, i.e. THE FLUTIST's group: the two voices
+                       -- were truncating each other instead of layering. PV004.
   # room 0.3 # sz 0.5 # dry 0.2
   # pan 0.2
-  # gain 1.1
+  # gain 1.3
 d8 $ gF1 $ gM2
   -- $ gF1 $ gM1 -- La Boite à breaks de ParVagues <3
   $ midiOn "^92" (ply "1 <2!3 4>")