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authorPeter Stone <thepeterstone@gmail.com>2026-10-29 20:13:13 +0000
committerPeter Stone <thepeterstone@gmail.com>2026-10-29 20:13:13 +0000
commit247c6a6456173e4ec67b6f95191765a2cf62b744 (patch)
tree6ca8ef0d6a790a1d2517ecc6f763a8c8b0fbd214 /app/src
parent8c6343c9185bd3978e1e2f81374eef0571e1965d (diff)
A music cue at the edge of a break is not part of the break
whisper writes "[music]", "(upbeat music)", "(audience laughing)" -- 312 of the 56,306 recognised lines in the library. They are not speech, so no publisher's written transcript contains them, so they can never anchor, so they sit at the front of a break and widen it. Earlier I said these could not be told from an advertisement and left them alone. That conflated two different things. A title card -- "Today's episode, Tamara." -- genuinely cannot be told apart, and is still left alone. A non-speech note says what it is by its shape. Measured across the eighteen episodes holding a master: before 99% - 110%, mean 103% after 99% - 106%, mean 101% #69 Tamara 110% -> 103% #70 Cayden 109% -> 106% Regrets 108% -> 104% Gobi 104% -> 100% Fourteen of the eighteen now sit within one point of the length gap. Nothing regressed. They are trimmed from break edges but still stored and still shown: a reader following along is better off seeing the laughter than a hole where it was. This is a judgement about where an advertisement starts, not about what was said. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_018AwnALZL6bD4VBtATDVv3B
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