PLN on the rebuilt seams: "listened to 13... perfect end for crime. revolution
starts good. listened to 99... all good perfect ending!"

That listen is the one that counted, and it is worth saying why: both clips were
audio BUILT FROM his approvals rather than audio he had approved. The 2s rest and
the MORE reverb tail existed only as instructions until this pass — a chain of
individually-approved edits can still add up to an ending nobody has heard.

Recorded in three places, each for a different reader:
  - `release_signoff` in the ear-boundary file — machine-checkable provenance,
    pinned to segments_v4 as rendered today. Any later re-render invalidates it;
    the note says so, so a future uploader can refuse rather than guess.
  - performance_notes.md — the ear-feedback corpus, per the archivist rule.
  - TASKS_DUMP.md — A1 closed, the last gate marked CLEARED.

Two taste calls banked for future sets:

SILENCE IS A MUSICAL ELEMENT, AND IT BELONGS TO THE OUTGOING TRACK. His fix for
the CRIME->REVOLUTION seam was not a longer fade or a different cut point — the
cut was already approved. It was "add after seam 2s silence in crime file". He
wanted the last official track to end on its OWN silence and the encore to start
clean. Future set-ending seams should offer a rest as a candidate, not only
fades.

HE REVISED THE REVERB AFTER LIVING WITH IT. Auditioned in isolation: "pick
subtle". Heard as the record's ending: "allez lets use the B version, the more
option" — roughly 2.7x the ring (650ms top tap vs 240ms). An effect judged on a
bare clip and the same effect judged as an ending are different judgements, so
render the A/B IN PLACE next time.

Both were a second listen changing the answer, which is the whole argument for
keeping the audition loop cheap: neither correction cost more than a re-render.