@jeffrey: "can we try curled being 3 beats · and up being 2 beats · also i think the s in sitting should be an extra beat forward / like extended forward / it starts / seems to start so sudden · and self and i needs a bit of space between too, like 1 or 2 beats · try and examine the original ratio of gaps and spaces between words in the original recordings? · and stone should be longer · and we should have a bar break between end of stone and 'just'". Measured her spacing first, and it backs the instinct: she is silent 13% of this line, and her three real breaths are after "up" (0.79 beats), after "to" (1.09) and after "STONE" (1.31 — the longest gap in the song, exactly where the bar break was asked for). The chart had no concept of a rest, so every one of those breaths was being stretched into the note before it, which is why words kept fading instead of ending. So the chart gains rests. `gaps` puts N beats of silence AFTER a unit, and the rest replays her own room tone — the frames the energy trim removed — ping-ponged if short, under an envelope that lets the breath sound and then settles to 0.15, because a looped room tone pulses. Three are set: 1 beat after "up" (hers is 0.79), 1 between self and i, and 4 after stone. And the pickup. The slice starts mid-sibilant — the /s/ of "sitting" is already at full volume in frame 0, which is the sudden start. `lead` stretches that fricative across the beat AHEAD of the downbeat and swells it from silence, so the word arrives the way a singer leans into it. Verified: the beat before 0 now ramps 0.0 → 2.0% and the vowel lands on the downbeat at 40%. Bar map now: sitting bar 0 · curled 4–7 · up 7–9 · rest · in my 10–14 · self 14–16 · rest · i think 17–20 · OF bar 5 · A bar 6 · STONE bar 7 · a whole bar of air · just at bar 9. Note curled(3) + up(2) is five beats, so "in my" no longer starts on the bar-2 line — that is the arithmetic of the two lengths asked for, and the rest after "up" is what carries it to a clean 10.