The Generator

what is true here — certificate of verification, 37/37

The mathematics is the instrument; the styling is declared. Invariant, voice by voice — each re-checkable in its evidence panel while it plays, and proved offline in research/the-generator:

• BELLSrings the Steinhaus–Johnson–Trotter extent: all n! rows, each one adjacent swap from the last, closing back to rounds. The braid on the tape is that proof, drawn; the hood counts distinct rows live.
• PULSErepeats exactly when the orbit does — the louder downbeat marks each true cycle; the λ readout is the rigorous chaos criterion (λ>0 never repeats).
• GRAINSplays real avalanches: one hit per synchronous-parallel toppling round. Totals are schedule-invariant (abelian); the hood keeps the grain-conservation ledger.
• DRONEsets its partials at the zeros' own heights γₙ (one declared scale constant) with loudness exactly 2/|ρₙ| — the literal weights of the explicit formula.
• FIELDis one random lattice flooding as you raise p; its spectrum is the live cluster-size distribution, and the deep tone that snaps in near p_c ≈ 0.5927 is the order parameter P∞ itself.
• TUNINGbuilds all twelve notes by stacking the one fifth you set. Pure rests the fifth and grinds the third; ¼-comma rests the third and breeds a wolf; equal spreads the comma so thin nothing is pure.

Declared free choices (they shape the music, never the mathematics): the bell→degree and orbit→pentatonic maps, timbres, tempo, swing, root, levels, clock divisions, the grain-drop seed and rate, the radius→tone mapping, the drone's Hz-per-γ constant, and the field's size→pitch ladder. On this bench they ride plain rails; only theorem parameters get an evidence track.

Deep dives: Plain Changes, rung · Period-Doubling, Played · Sandpiles, as Percussion · Tempered · The Primes, Played · Percolation, as Texture