# Week 11 — actual sound comparison

Owner approved application on 2026-09-13. Primary pair uses Week 10 Cut A picture and independently synthesized Samantha Hey A (150 wpm, 0.360729s). B (105 wpm, 0.396708s) is an alternate. Shorter A leaves time after the greeting for listening; this is an editorial rationale, not measured audience response.

- `dialogue-only.mp4`: synthesized A dialogue only.
- `full-sound-pass.mp4`: same dialogue plus original procedural ambience, incoming-call SFX and sustained A3/E4 cue.
- `no-music-control.mp4`: same dialogue/ambience/SFX, removing only music.
- `full-sound-pass-take-b.mp4`: alternate B voice with otherwise unchanged full sound design.

Original generated audio omitted from all versions. Picture streams byte-match; each video runs 31.233333s. All decode without error; decoded audio peaks below 0 dBFS.

| Beat | Full-pass editorial intention |
|---|---|
| Wide / waiting | Low hum proposes a still kitchen |
| Caller insert | Phone motif makes the interruption audible |
| Reaction | Repeated calls sustain pressure under the hold |
| Reach / hover | Sustained music focuses attention on attempted contact |
| Acceptance / Hey | Ring stops near answering; room and cue support the same greeting |

Timings on Cut A: SFX 6.067–24.1s, cue 17.6s, Hey 27.8s after phone-at-ear around 27.7s. Ending samples support event alignment, not exact phoneme lip sync. Mouth remains open across multiple frames. Sound signature is proposed, not field-recorded or a locked production bible. No independent listening review, audience measurement, learner assessment completion or final-film-cut selection claimed. See canonical `materials.md`, scripts and `alignment-verification.json` for production details.