# Alto: prepare the next note

A separate instrument-only listening comparison from the full physical
`alto-player-coordination-25` study. It changes planned mouth-pressure/lip-gap
timing, not the instrument source, vent/tongue preset, notes or original key
and musical-gate clocks. All older recordings and models stay intact.

The horn's existing pressure/gap/key smoothing is 12/25/6 ms. In 51 eligible
active register changes, the new controller begins preparing the next pressure
and resting-gap targets 30 ms early while retaining the preceding fingering.
The extra control segment is not a new tongue attack, gate or oscillator reset.
This timing is illustrative, not a measured human physiological limit.

A is the untouched failed-band dry horn, not the approved lab C4. B crops its
already complete 80.1-second physical trajectory, preserving all prior state.
One constant matches the new full dry performance's playback level; the same
constant applies to the short clip. No backing, room, amplifier, pitch correction,
per-note normalization or samples are added. The original sax engine remains
SHA256 `20801487318af6d1fabcfe5aacfcbbd35d5fb8c296d43f4a0e4d2a5189e5be30`.

The full segmented no-change sham is bit-identical to every original raw sample;
every model step retains keys, tongue commands and active gates. Both unrestricted
methods reduce the original seven assessed ambiguities to three, without new raw
exceptions. The remaining assessments at 23.90, 47.75 and 53.75 seconds remain
negative. A repeated waveform period is not automatically perceived pitch, and
these counts are not proof of realistic sax tone or a listening winner.

`controller.py` and `player-controls.json` expose the actual generic preparation
rule and controls; they use the scored register/target values, not failed-note
timestamps or pitch feedback. The original engine and its model03 dependencies
remain available in the existing instrument labs. Private diagnostic reports
are copied under explicit private-stage filenames and describe that earlier
diagnostic, not publication status. New audio derives solely from its complete
physical trajectory; actual PCM/MP3, public players and preservation are checked.

No agent playback, paid API or new band mix. Guitar, bass, drums, original Ruth
and all earlier experiments stay untouched. Pat-level improvisation, complete
human player physics and realistic alto remain unproved.