A · earlier muting
Newly rendered control using the existing timing.
Let the phrase ring.
The existing guitar starts muting 24 milliseconds before each written release. This comparison starts that same mechanical mute at the release instead—without changing the notes, picking, connected groups or amp.
Giant Steps · same four-second phrase · matched guitar loudness
B · later muting
Same instrument; the written note lasts through its gate.
A small playing-behavior test, not a claim that the electric guitar is now convincing. No extra melody, samples or exact Scofield imitation. All earlier recordings and Ruth remain unchanged.
What changes—and what doesn’t
Both versions newly synthesize the same 20 notes, including six connected arrivals, from the same initial state. Only the scheduled mute onset changes. The six-string/bridge dynamics, pluck, finger contacts, pickup circuit and amplifier are the existing model; the separate spatial-quadrature experiment is not used.
Amplifier input scale stays fixed; one constant post-amp gain per take matches guitar loudness. The procedural bass and drums use the exact same source-clock crop. This is not a crop of the published guitar recording, a new palm-contact model or a finished performance.
Comparison measurements · Full-score mute audit · Controlled checks · Player model