The audience sits among laptop speakers and nobody but the performer is at the center, so three things the September 22 score assumed were not true in the room: a laptop passes little under 200 Hz (the bass, oom, creep, kick body and last low C ran 65 to 147 Hz), a sound crossfaded between two seats reaches an off-center listener from the nearer one first (11.7 ms across a 4 m difference, past the 1 to 5 ms fusion window) and 14 dB louder, so the orbiting theme was a jump at a moment set by where you sat; and a single sine without a transient cannot be placed in a room (Hartmann 1983), which is what the echoes and the travelling theme were. chamber-platter digest 05 (hearing inside the ring) states the psychoacoustics with sources — precedence and echo thresholds, onsets and the placeable tone, minimum audible movement angle and rotation limits, spatial release from masking, distance compression, residue pitch, laptop roll-off — as nine numbered rules, and chamber study 05 audits the eleven chapters against them. The composer follows them: bassNote() gives every low root its octave and twelfth; kick() gets a click and its second harmonic; echoes and the travelling theme carry an octave above 1.5 kHz; the theme and the answer hop (five pinned lanes each, a note written whole to the seat nearest its orbit at onset, leaving the hands for seat 1 and walking clockwise one seat per 2.5 s; --glide rebuilds the old orbits); the walk keeps to the two seats across from the tune; the Chase holds each seat two eighths once an eighth is under 200 ms. Length unchanged at 12:54, 10,185 of 10,185 events voice, peak polyphony 26 of 32, routing tests pass. The arrangement sheet gains the center-level rule (set from seat 3 or 4, about +9.5 dB at 3 m), the performer's walk toward the rear pair during center-only passages, the drift budget (15 to 39 ms by the Vanish; re-cue VIII and X past 20 ms) and a pink-noise check of one seat's bass. Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>