TRACKS OUT builds the locations' sets (Location Setup PDF): SC and WS in their own PCO keys (pitched stems transposed, locator, Waves Tune, pads, CtW/Salvation), consolidated in Live; AB as NA; key check per location; never edits a set open in Live

Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>

README.md

@@ -132,7 +132,7 @@ HyperDeck is recording). **STATUS PAGE** (bottom left) goes back.
 | row 0 (Ableton) | TRACKS | FOH MIX | BOH MIX (tap) | LIGHTS | MIDI | SONG KEYS | W TUNE |
 | row 1 (ProP / Resolume) | PROP | TIMECODE | BKGDS | LED CROSS | LIGHT TIMING | every blinder flash and FX cue (notes 30-39 on `LIGHTING CUES`: Blinder Flash 1-3, Blinder FX 1-5, named from `Ableton/LIGHTING CUES MIDI`) lands on the hit in the `Drums (Live)` stem under it, even when that clip is deactivated because the drummer plays live. Each cue's moment in the stem comes from the tempo map; the Tracks Mac listens in 2.5 ms steps out to almost a 16th either way, finds the strongest hit and where it starts (halfway up its rise); what is under the cue is looked at from 10 ms before it to 25 ms after (the stems' hits start a little after the grid). Each song's cues that sit on solid hits set what "on time" is for that song (its stem's hits start 7-12 ms after the grid). **14 CUES OFF** (amber): a strong hit more than 25 ms from the cue while the cue sits on a quiet spot; a cue already on a solid hit (a double hit follows) is never named. The details say `JEHOVAH bar 405.3.2: Blinder Flash 2 is 145 ms after the hit (about a 16th)` (bars as Live shows them, 4/4). Listened to once per saved set. | moves every cue that is off onto its hit in the open set (all flash/FX notes on that 16th; onto the 16th grid when the hit is within 10 ms of it), keeping where each cue ends, then saves the set (File › Save Live Set in Live, clicked through System Events: `/usr/bin/osascript` has Accessibility on the Tracks Mac since 2026-10-22; `ready.light_autosave`), but only when the set open in Live is this weekend's. If it cannot save, the key says **SAVE SET (n MOVED)** until the set is saved; Cmd+Z in Live takes a move back. Never runs by itself. Uses the status panel's command in AbletonOSC (`tools/abletonosc`: `statuspanel.py` plus a hook at the end of AbletonOSC's `abletonosc/__init__.py`; an AbletonOSC update removes it, so run `tools/abletonosc/install.sh` again, then restart Companion's `ableton` connection) |
 | row 2 (backstage) | LINEUP TV | ROUTING | IN EARS | | | | |
-| row 3 (outgoing) | TRACKS OUT | PROP OUT | START | | | | |
+| row 3 (outgoing) | TRACKS OUT | every location in `"locations"` (AB, SC, WS) has this weekend's project folder; the ones in `"transpose_locations"` (SC, WS) in the keys of their own Planning Center plan: **WS THE LORD IS H. B NOT D** (red) is a locator still in NA's key, **CONSOLIDATE WS** (amber) transposed clips not yet rendered | one job on the Tracks Mac (Waters_Worship_Location_Setup.pdf): NA's finished set is copied to each location that has none (as `261101 WS Project`, without `Backup/`, under a temporary name until complete; AB keeps NA's keys). For SC and WS every song whose key their plan changes gets its pitched stems transposed (warp on, Complex Pro, formants 0; drums and other unpitched stems stay), its locator, Waves Tune key cue and pads changed, the Call to Worship following the first song and Salvation the song before it; the old .als is kept in `Backup/`. Then each set is consolidated in Live (Freeze + Flatten, warp off, as START does) and Live goes back to the set it had open. Refused while NA's set has clips still to consolidate; a location set that is open in Live is left alone (named in the details). Never runs by itself. |
 
 The READY key at row 3 col 7 (and the one on the status page) shows how many keys still have something to do and
 the first of them.