{"claim":{"id":"2ceb3ea1-1425-4e86-a810-6dd9b36e123d","submission_id":"f3831c1d-0d62-474f-a44b-3645dd30cc92","submission_revision_id":"36780df5-d680-47e5-886b-481aaffee917","builder":"builder-01","status":"active","claimed_at":"2026-10-15T16:14:29.212327Z","delivered_at":null,"ended_at":null,"delivery_note":null,"end_reason":null},"task":{"submission_id":"f3831c1d-0d62-474f-a44b-3645dd30cc92","submission_revision_id":"36780df5-d680-47e5-886b-481aaffee917","revision_version":2,"submission_status":"under_review","submitted_at":"2026-10-10T03:27:08.200452Z","submitter_name":"Rongjie Huang","submitter_email":"zjurongjiehuang@gmail.com","task":{"status":"submitted","version":2,"extra_fields":{"difficulty_self_test":{"model":"GPT-6 Astra","estimated_score":"20–40%"}},"submitted_at":"2026-10-10T03:27:08.200452+00:00","industry_domain":"Music Production, MIDI Orchestration and Digital Audio Workstation Post-production","task_short_name":"music_quintet_reconstruction","operating_system":"Linux","task_description":"Objective:\nReconstruct the complete consecutive movements III, IV and V of Schubert’s Piano Quintet Op.114 from the supplied mixed recording into one editable REAPER performance, full performed MIDI, stereo master and five instrument-role stems. Recover overlapping voices, pitches, actual performed timing, durations, dynamics and instrument families.\n\nStarting State:\nExtract music_input_and_software_20261010_v7.zip as workspace/. Public materials include instruction.md, task_prompt.txt, software.md, input/performance.wav, the movement manifest, attribution, the complete delivery contract and a generic native exporter. The source comprises complete MusicNet recordings 1728, 1729 and 1730 in order with four-second digital-silence gaps, total 1072.1763265306122 seconds. Hidden labels, truth, reference outputs, builders, evaluator, reviewer material and model evidence are not solver-visible. The delivery brief is simulated, using genuine attributed recordings.\n\nInstructions & Rules:\n# Reconstruct a complete chamber performance in REAPER\n\nYou are a MIDI orchestrator reconstructing an archived chamber recording into\neditable playback material. Rebuild the entire instrumental performance in\n`input/performance.wav`: every audible part, its pitches, performed timing,\ndurations, dynamics and instrument family. This is a simulated delivery brief\nusing a real, attributed recording, not an asserted client commission.\n\nThe recording is Schubert's Piano Quintet in A major, Op.114, complete\nmovements III, IV and V (MusicNet 1728, 1729 and 1730), approximately 18 minutes. Its parts\nare piano, violin, viola, cello and double bass. Follow the recording's actual\nperformance timing; do not quantize it into a different performance. Recover\noverlapping voices and fast notes throughout all three movements. Expressive dynamics\nand instrument tone should sound like those families. The source recording's\nnoise, microphone response and exact samples need not be reproduced.\n\nUse the installed REAPER 7.82/Linux and x42 General MIDI Synth 0.6.4. Included\nREAPER virtual instruments, samplers and effects are available; scripting,\ngeneric signal analysis and ReaScript are allowed. REAPER must actually open,\nedit and render the native project. Neither an audio-only delivery nor a\nPython-only renderer is sufficient. Native GUI mouse-only operation is not a\nrequirement. Installed analysis libraries are generic; source-score/MIDI/label\nfiles, author reference, grading truth and evaluator are withheld. This\nworkstation is offline. The software, API documentation and acquisition notes\nare in software.md.\n\nDeliver under `output/`:\n\n1. `reconstruction.rpp`: a relocatable native REAPER project, with all performed\n   notes in editable, unmuted MIDI items and functioning instrument chains.\n   Keep only the reconstruction in the project; the mixed source recording may\n   be analyzed elsewhere, but must not be an audio item or rendered source in\n   the delivered project. Keep any instrument samples inside output/ and use\n   relative paths. Flatten MIDI loops before delivery. Use fixed item playback\n   speed 1 and no item stretch markers; express performed timing in the MIDI\n   notes/tempo map instead. Use any valid tempo/PPQ encoding that yields the\n   same performed times; a constant tempo with off-grid notes is also accepted.\n2. `transcription.mid`: full performed MIDI, with the five instrument roles on\n   distinct channels and appropriate GM program metadata. Use channel numbers\n   0–15 in delivery.json. One role may span several channels/tracks, but a\n   channel or project track must not claim two different roles. Notes, CCs and\n   tempo changes in this export must agree with the native project's playback.\n3. `mixdown.wav`: a complete 48 kHz stereo PCM reconstruction from the project.\n4. `stems/`: five complete 48 kHz stereo PCM stems, one per role, starting at\n   performance time zero. All use the same duration and time origin as the mix.\n   They include that role's instrument/effects/gain/pan. Use flat role tracks with direct master routing, without folders or inter-track\n   sends. Several flat tracks per role are allowed. Keep the master at unity gain and centre pan, linear\n   and unprocessed so the sum of these role stems reproduces mixdown.wav.\n5. `delivery.json`: the exact schema below. Arbitrary stem filenames and track\n   names are accepted through this mapping. Project track numbers are 1-based.\n6. `overview.png`: an actual screenshot of the native arrangement, for human\n   evidence only. It earns no musical credit by its existence or file size.\n7. `qc_note.txt`: describe the part reconstruction, tempo representation and\n   any unresolved musical uncertainty. No self-reported score is trusted.\n\nExample schema (change channel/track mapping to your actual project):\n\n```json\n{\n  \"schema_version\": 1,\n  \"project\": \"reconstruction.rpp\",\n  \"midi\": \"transcription.mid\",\n  \"mix\": \"mixdown.wav\",\n  \"parts\": [\n    {\"role\": \"piano\", \"midi_channels\": [0], \"project_tracks\": [1], \"stem\": \"stems/piano.wav\"},\n    {\"role\": \"violin\", \"midi_channels\": [1], \"project_tracks\": [2], \"stem\": \"stems/violin.wav\"},\n    {\"role\": \"viola\", \"midi_channels\": [2], \"project_tracks\": [3], \"stem\": \"stems/viola.wav\"},\n    {\"role\": \"cello\", \"midi_channels\": [3], \"project_tracks\": [4], \"stem\": \"stems/cello.wav\"},\n    {\"role\": \"double_bass\", \"midi_channels\": [4], \"project_tracks\": [5], \"stem\": \"stems/double_bass.wav\"}\n  ]\n}\n```\n\nEvaluation is a weighted continuous score: pitch/onset 25%, performed\nrhythm/duration 25%, dynamic contour 10%, instrument identity 10%, rendered\ninstrument tone 20%, and native arrangement/delivery consistency 10%.\nThe optional native export helper in software/ can render the five role stems\n   and mix simultaneously, so modulation phases remain consistent. It contains\n   no transcription, score, reference notes or grading truth.\nThe complete metric, tolerances, accepted equivalents and local error behavior\nare in `input/delivery_contract.md`. Missing or malformed MIDI gets zero total;\nordinary missing/incorrect project, sound or documentation loses corresponding\ncomponents, rather than changing all correct music into a format failure.\n\nTiming reference comes from MusicNet score-alignment annotations. The dataset\nauthors report trained-musician verification and approximately 4% label error;\nthis is not a claim of perfect independent boundaries. Punctuation, formatting,\nfile size and self-reported correctness are not musical success criteria.\nProfessional calibration/QC for this constructed workflow remains pending.\n\nPreserve source attribution. `input/ATTRIBUTION.txt` identifies the primary\nrelease, recording and source collection and discloses the development origin.\n\n\n## Complete multi-movement edition (v7)\n\nReconstruct the complete consecutive Scherzo, theme-and-variations, and finale\nof Schubert's Piano Quintet Op.114 (MusicNet recordings 1728, 1729 and 1730),\nabout 18 minutes and all five instrumental roles. input/performance.wav contains\nthe original performances in order with a disclosed four-second silent gap\nbetween movements; no source audio is shortened or omitted.\ninput/movement_manifest.json gives source identifiers, exact start/duration\nand region names. It supplies no notes, score, voice alignments or answer.\n\nDeliver ONE continuous editable REAPER reconstruction and ONE continuous MIDI,\nmaster mix and five role stems covering the entire programme, including the\ngaps. Keep the five role ownerships consistent through all movements, including\nchanging textures, register, sustained string lines and piano accompaniment.\nMissing sections and substituted/copied notes remain in the musical score's\nnormal precision/recall accounting. Reusing an analysis method is permitted.\n\nAdd named project regions for the three movement bounds and describe unresolved\nvoice/transcription choices in qc_note.txt. Region/QC presentation is review\nevidence, with no score merely from its presence or wording. Native playback,\neditable MIDI and actual waveform agreement remain scored under the public\ncontract; the published weights and musical tolerances apply to the complete programme.\n\nThe workstation's bulk workspace is durable shared storage. Use the provided\nlocal /workspace/.runtime directory for REAPER configuration, HOME, caches and\nsmall temporary settings; configuration atomic writes require that local path.\nKeep big analysis arrays and audio outside .runtime. The generic exporter uses\nlocal private native settings and bulk waveform storage, with no answer data.\n","software_licensing":"Free/Open Source","evaluation_criteria":null,"verification_method":"The standalone evaluation/evaluate.py recomputes a weighted score in [0,1] from delivered MIDI, role mapping, native REAPER playback and real waveforms against validated hidden reference data. Weights: pitch/onset 25%, rhythm/duration 25%, dynamics 10%, instrument identity 10%, rendered tone 20%, arrangement/delivery consistency 10%. Native project playback is inspected and rerendered in a network-free isolated REAPER environment with candidate materials and generic software only. Sound credits are gated by note recovery and delivered/native audio agreement; self-reported metrics and screenshot existence earn no musical credit. Missing/malformed core MIDI gives zero; ordinary missing project/audio loses dependent components. Broken hidden truth/reference and unavailable trusted software/worker are infrastructure errors, not candidate deductions. The package is a standalone contributor evaluator, not an executed official ALE integration.\n\nRun:\npython3 -B evaluation/evaluate.py --output /path/to/output --truth truth.json --reference reference --health native_health.json --work-root /path/to/empty-grading-work --report /path/to/score.json\n\nAcquire the recorded runtime from software.md and configure ALE_MUSIC_REAPER, ALE_MUSIC_LV2 and ALE_MUSIC_IMAGE when relocating it. Native health pins the reference, worker and actual software; use genuinely executed health evidence.\n\nComplete public numerical contract:\n# Complete public evaluation contract — music-quintet-v7-20261009\n\nThis is a contributor's standalone local rubric, not an official ALE result.\nThe objective is the entire recording and all five roles, not a short melody.\nThe source-aligned note reference has upstream annotation uncertainty. The\nrendered reference's velocity/dynamic realization is constructed from the\nrecording's mixed envelope, not independently measured acoustic stem truth.\nThe timbral and dynamic thresholds are author-selected and professional\ncalibration remains pending. Alternative instruments within the required\nfamilies may differ from the reference samples and need not match waveforms.\n\n## Delivery interpretation\n\nUse the manifest in instruction.md. Roles are exactly piano, violin, viola,\ncello, double_bass. Channel ownership and native track ownership are disjoint;\nseveral channels/tracks for one role are allowed. Track numbers are 1–64 and\nMIDI channels are 0–15. Do not route one role's audio through another role's\ntracks. Use flat tracks, with direct master routing and no folders/inter-track\n sends. Native replay temporarily routes each role to a unity-gain bus and\n simultaneously renders the master and five buses. These in-memory routing\n changes are never saved into the candidate project. Keep the master at unity gain and centre pan,\nlinear at full stereo width, with no master FX or audio automation. Tempo-map automation remains allowed. Keep all track and master solo controls off, and keep every mapped role track's direct master send enabled. Reference duration is the source WAV's\nduration (approximately 18 minutes; exact frame duration in movement_manifest.json). Every stem and mix starts at zero,\nhas this duration within 100 ms, and uses the same frame count. WAVs are stereo\n48000 Hz PCM16/24/32 or IEEE float; finite samples within full scale are required.\n\nUse standard synchronous MIDI type 0 or 1 with positive PPQ. All performed\nnote times are decoded through the complete tempo map into seconds; changing\nPPQ or tempo representation without changing performed times has no penalty.\nNote-ons/offs must be balanced, with positive durations inside the programme\n(100 ms end tolerance). Repeated overlapping notes of the same channel/pitch\nare paired FIFO. No more than 50000 notes, 5000 channel-controller events or 2 MB MIDI/manifest; native project\nat most 8 MB and 64 tracks; each WAV at most 600 MB. Use regular files and\nrelative paths within output/, without symlinks. Machine directory aliases\nabove output/ are canonicalized. All samples/assets required by the project\nmust be included in output/ with references relative to the project file. A nested project may use ../assets when every traversed path stays inside output/ and contains no symlink. Absolute native media references, missing assets and symlinked delivery paths lose native credit. Installed generic instrument components (for example the supplied x42 GeneralUser instrument) are software dependencies and need not be copied into output/. Missing metadata or an\ninvalid role map prevents musical ownership and gets zero total, as does a\nmissing or malformed MIDI. Empty MIDI gets zero musical credit.\n\n## Components (weights sum to 1)\n\n- Pitch/onset, 0.25: maximum one-to-one matching by role, equal MIDI pitch, and\n  onset within 80 ms. Score is global note F1 = 2 matches/(delivered+reference\n  notes). Extra, duplicated and unassigned notes stay in the denominator.\n- Rhythm/duration, 0.25: independent maximum one-to-one matching by role,\n  onset within 80 ms, and duration error at most max(150 ms, 30% of reference\n  duration). Pitch is not required for this separate rhythm component. Score\n  uses the same global F1. Actual performed seconds are used in both metrics.\n- Instrument identity, 0.10: pitch-matched notes whose MIDI program is in the\n  declared role's family, divided by max(delivered count, reference count).\n  Zero-based GM programs: piano 0–7, violin 40, viola 41, cello 42, bass 43.\n  Metadata alone cannot earn the rendered-tone component.\n- Dynamics, 0.10: mean over five roles of Pearson correlation of 250 ms RMS\n  contours in dB, clipped to [0,1]. RMS is floored at 1e-5; silent/constant\n  contours get zero. The comparison is with constructed reference stems.\n- Rendered tone, 0.20: per role, mean spectral-shape similarity with per-frame log-energy centering.\n  Stereo average is resampled to 16 kHz. Hann-window FFT1024, hop512, twenty\n  triangular mel bands from 50 to 7500 Hz, log-band centering, orthonormal DCT\n  coefficients 1–12. Centering reduces overall-gain effects; the fixed log-energy floor means exact gain invariance is not promised for near-silent narrow-band signals. Frames below 1e-4 of maximum spectral power are omitted.\n  Let distance be RMS difference between the mean feature vectors. Score is\n  clip((6-distance)/5,0,1): a 1-unit deadband and zero at 6 units. Silence gets\n  zero. This is broad tonal resemblance, not perfect acoustic identity.\n- Arrangement/consistency, 0.10: 40% exported-note/native-note agreement,\n  20% delivered mix/native master render agreement, 20% mean delivered\n  stem/native role render agreement, 10% stem-sum/mix agreement, and 10%\n  fraction of roles with active editable native notes.\n\nDynamics and rendered-tone scores for each role are multiplied by that role's\npitch F1, its delivered-stem/native-render agreement, and the native/exported\nnote agreement. Thus copying the source audio or labeling it as several stems\ndoes not earn sound credit without a matching editable native reconstruction.\n\nNative/exported agreement is the minimum of joint note F1 and channel-control\nF1. Joint notes must match role, pitch, onset within 5 ms, duration within 5 ms,\nand velocity within 1. Controls include CC, pitch bend, channel pressure and\npolyphonic pressure, matched by role, channel voice, event type/index/value\nand time within 5 ms. A one-to-one channel rename is inferred independently\nwithin each role from maximum joint matched-note ownership; control agreement\nresolves note-identical ties. Moving a controller to another unused channel\ndoes not match, while consistently renaming note and control channels does.\nHarmless repeated identical absolute state declarations on the same channel are collapsed. Each invocation of channel commands CC120/121/123–127 and relative parameter increments/decrements CC96/97 remains an event. CC122 is an absolute local-control state. CC121 applies the GM RP-015 controller reset: expression, modulation, pedals, parameter selectors, bend and pressures reset; bank, volume, pan, sound/effect controllers and registered/non-registered parameter values remain. Ordinary high-resolution controller MSB updates clear the associated LSB; data-entry CC6/38 belongs to the currently selected RPN/NRPN parameter. A state restoration after reset or relative parameter change is not a redundant declaration. Reset-sensitive declarations keep their reset epoch when matched; unaffected states remain eligible for harmless duplicate collapse. These are controller/export consistency rules; weights and time tolerances are unchanged. Protocol sources: https://midi.org/midi-1-0-control-change-messages and https://midi.org/response-to-reset-all-controllers. Program\nmetadata is scored under instrument identity and is not a required native FX\npreset representation. Tempo/PPQ equivalents preserve performed seconds.\nNative project notes are read through REAPER's actual MIDI/time-map API. Only\nactive, unmuted MIDI notes count. All unmuted source note/controller events must lie within their active item bounds, with 5 microseconds allowed for API serialization rounding; remove unused events outside those bounds and flatten cropped/looped source spans to the performed timeline. An enabled source-loop flag is harmless when the item ends before the first source cycle ends; actually repeating sources are invalid. Apply take pitch shifts to the editable MIDI notes and leave the take pitch offset at zero. Each mapped track must be unmuted, with exactly one enabled, online instrument at the first top-level FX position. Bake MIDI processing before the instrument, take FX, additional instrument generators and FX containers into the editable notes, then remove those processing stages from the final native project. Audio-only processing after the first instrument remains allowed; it is assessed by the published audio metrics and export consistency, without requiring reference-sample equality. No track audio/FX automation is allowed; tempo-map automation remains accepted. These final-project checks prevent source MIDI from masquerading as differently performed MIDI; they do not prohibit using processing tools while editing. Only the active take may play: with multiple takes, disable Play all takes. Audio items, non-unit item speed, item stretch\nmarkers, out-of-bounds notes or over-limit projects make native credit zero.\nFlatten loops and do not use rendering-time note generators as substitutes\nfor the required editable notes. The grader actually opens and renders the\ncandidate project in a separate offline process with no hidden data mounted.\n\nRender agreement is clip(1 - max(0,RMS(candidate-native)-3e-5)/max(0.05*RMS(native),1e-5),\n0,1), at the same time origin. This checks the candidate against its OWN\nnative playback, not reference-sample equality. A 3e-5 RMS deadband accepts ordinary PCM16/24 quantization and stem summation;\nlarger error has the stated linear falloff. Tiny PCM quantization is accepted; shifted, normalized or unrelated exports lose consistency credit.\nFor stem-sum comparison, the delivered mix is the denominator signal. Musical\nsound comparison uses the broad dynamic/tone metrics above.\n\n## Error behavior and evidence\n\nMissing/malformed MIDI or role mapping scores zero total. Missing/bad project\nor audio loses the associated native/audio components; correct MIDI remains\neligible for pitch, rhythm and instrument credit. Candidate-native timeout or\nfailure within the fixed replay limit (180 seconds, 4 CPUs, 6 GiB) loses native\ncredit. Screenshot and QC note are requested evidence for review and earn no\nscore by their existence, wording, self-reported results or file size.\n\nHidden reference integrity and the required native software environment are\nchecked first against the executed control's hashes. Broken reference raises\nReferenceDataError; a missing/changed required software environment raises\nEvaluationEnvironmentError. Both produce score=null, never a candidate zero.\nNo candidate repairs are applied before grading. The weighted score is in\n[0,1] and is a rubric score, not a statistical success rate or expert approval.\n\nThe programme contains three complete consecutive movements. Score matching uses their actual positions on the single continuous programme timeline; full note denominators include every reference/delivered event. The source/movement manifest is public, while aligned note labels and author reference remain hidden. The fixed 180-second native replay limit is retained only if the actual full reference control succeeds within it; otherwise setup is revised before freezing, never after a model score.\n","software_and_version":"REAPER 7.82","specific_requirements":null,"expected_completion_time":null},"files":[{"file_id":"8d8bc2f8-2ef7-4304-8be9-9ba85d8b8028","filename":"music_evaluator_truth_20261010_v7.zip","category":"reference_output","content_type":"application/zip","size_bytes":649324},{"file_id":"4b47bc46-1df7-4b28-99e5-daae2b26b750","filename":"music_standalone_scorer_20261010_v7.zip","category":"reference_output","content_type":"application/zip","size_bytes":19877},{"file_id":"7537c717-4d12-4c36-8d4a-0d76a87a45cf","filename":"music_input_and_software_20261010_v7.zip","category":"input_materials","content_type":"application/zip","size_bytes":101314179},{"file_id":"62b2d460-b675-4e95-a977-1b1f5f8b23ef","filename":"music_independent_review_evidence_20261010_v7.zip","category":"difficulty_self_test_evidence","content_type":"application/zip","size_bytes":785416},{"file_id":"664419d6-477c-46ea-a515-05d505a9a103","filename":"music_reference_outputs_20261010_v7.zip","category":"reference_output","content_type":"application/zip","size_bytes":1292319575},{"file_id":"e1bf93fb-7bda-4973-a908-cc1b1ad069fe","filename":"music_model_trial_evidence_20261009_v7.zip","category":"difficulty_self_test_evidence","content_type":"application/zip","size_bytes":3202373466},{"file_id":"ba274550-a415-4dda-84bc-3b3ab4e0e979","filename":"music_ale_submission_20261010_v7_licenses.zip","category":"reference_output","content_type":"application/zip","size_bytes":1394349894}],"deep_review":{"overall_verdict":"Accept","review_text":"**Overall Verdict:** Accept — The revision provides a coherent, technically reachable reconstruction workflow and objective standalone evaluation, with calibration and provenance limitations explicitly disclosed.\n\n**Completeness Check:**\n\n- Instruction: Complete — Defines all three movements, five roles, editable native reconstruction, continuous exports, routing constraints, and required evidence.\n- Inputs: Complete — The full recording is readable, contains 47,282,976 frames, and has the specified four-second silent gaps. Solver materials contain no aligned-note answers.\n- Toolchain: Complete — Native software, acquisition paths, licensing terms, automation interfaces, and reproduction procedures are documented. REAPER is proprietary evaluation software, despite the submission’s “Free/Open Source” field.\n- Reference output: Complete — Includes the native project, MIDI, master, five stems, screenshot, and QC note. Independently parsed reference MIDI contains 20,965 balanced notes matching the packaged annotations within serialization precision.\n- Rubric: Complete — Publishes weights, tolerances, partial credit, consistency gates, and infrastructure-error handling. Constructed dynamics and uncalibrated tonal thresholds limit interpretation as professional musical assessment.\n\n**File and Task Reachability:**\n\nAttachment classification: `reachable`. Task classification: `reachable`.\n\nInspected all seven attachments: `music_evaluator_truth_20261010_v7.zip`, `music_standalone_scorer_20261010_v7.zip`, `music_input_and_software_20261010_v7.zip`, `music_independent_review_evidence_20261010_v7.zip`, `music_reference_outputs_20261010_v7.zip`, `music_model_trial_evidence_20261009_v7.zip`, and `music_ale_submission_20261010_v7_licenses.zip`.\n\nAll archive inventories were readable, with no detected traversal entries, unsafe links, encryption, or duplicate member names. Content inspection covered instructions, schemas, evaluator source, annotations, native projects, MIDI, screenshots, licensing records, execution evidence, full source audio, and rendered-audio headers. Selected reference files match the supplied integrity hashes. Bulk rendered waveforms and most model trajectory records were not inspected in full.\n\nThe completion path is viable on one suitable machine: analyze the supplied audio, author editable MIDI in REAPER, render the continuous master and stems, then evaluate against isolated hidden references. Archived evidence reports successful full-reference replay in approximately 42 seconds and complete reference scoring. Later revision-bound evidence reports an unchanged-candidate regrade of approximately 0.345, superseding the historical failed-audit summary; it does not establish a fresh final-prompt trial.\n\nNo submitted code was executed or native replay independently repeated during this review. External provenance was assessed from supplied records, not independently searched. Recording-specific rights confirmation and professional musical calibration remain disclosed uncertainties, not demonstrated violations.\n\nLicense keys, accounts, tokens, and other credentials are not required from the contributor.\n\nConfidential, proprietary, or internal material may be evaluated as submitted evidence without requiring additional disclosure.\n\n**Special Screening:**\n\n`public_benchmark` — Supplied primary-release metadata explicitly identifies MusicNet as a transcription benchmark, and this task reuses identifiable recordings and their aligned labels. Solver-visible answer separation and the offline workstation mitigate runtime answer retrieval. Prior model exposure or memorization was not established.\n\n**Recommended Changes:**\n\nThe complete delivery package, explicit partial-credit contract, and revision-bound control evidence support acceptance. No material task revisions are required. Preserve the offline boundary, third-party notices, and stated limits on professional validation and difficulty claims.","reviewed_at":"2026-10-10T03:55:47.475567Z"},"claim":{"id":"2ceb3ea1-1425-4e86-a810-6dd9b36e123d","submission_id":"f3831c1d-0d62-474f-a44b-3645dd30cc92","submission_revision_id":"36780df5-d680-47e5-886b-481aaffee917","builder":"builder-01","status":"active","claimed_at":"2026-10-15T16:14:29.212327Z","delivered_at":null,"ended_at":null,"delivery_note":null,"end_reason":null}},"revision_is_current":true}