The release check turned up four fixes and one boundary move. The pipeline could
express none of them, because it only knew about boundaries. It now separates
two things that look alike and are not:

  `verified`  a BOUNDARY: moving it shifts both neighbours (butt-joined set)
  `edits`     a per-track TRIM/FADE: the audio is DROPPED, a gap opens, and the
              continuous mix must skip it too

Confusing them silently hands a neighbour a second of someone else's silence —
which is the exact artefact these edits exist to remove.

Applied, all verified by ratio against the unfiltered master rather than by
reading back the command line:

  #1  Bombe      end -1.0s   PLN: "trim silence to 1s silence from 00:17".
                             Measured: audio ends 527.90, then 2.0s of -60..-100.
  #2  WAP        end -45ms   PLN heard "a sound just at seam ... is an error".
                 +30ms fade  The error was at WAP's END, not Drums' head: the
                             last 40ms jump -57 -> -15 dBFS, a sound truncated
                             mid-decay. An 80ms fade only reached -26.8 dB —
                             hidden, not gone — so the burst is now dropped
                             outright and the fade only guards the new edge.
  #12 Mafia      +1.66s      boundary MOVE: heard as a seam, it wants more Ghosts
  #13 CRIME      end -10.0s  PLN: "cut at 0:10 its better. have fade from 0:09 to
                 duck to 50% 0:10 from 100 to 50% to lower the sudden cut"
  #15 REVOLUTION start +18.9s PLN: "start revolution at 0:38:9 on a fade of the
                 2s fade-in   drums to not be so sudden"
                 end -15.0s   PLN: "end at 0:15"

Measured gain curves confirm each: CRIME flat 1.0 then ramping to 0.546 over the
last second; REVOLUTION 0.022 -> 1.0 across 2s; WAP 1.0 until the fade. Every
duration exact.

`continuous` was rewritten as a consequence. It used to cut merged "kept spans"
from the master, which was right for boundaries and would have been silently
WRONG here: the mix would have played un-faded audio while the tracks were
faded, with nothing to flag it. It now cuts the same segments through the same
filter chain and concatenates them, so the mix is literally the tracklist and
the two cannot drift. Gaps fall out for free.

PLN's raw release-check export is committed as provenance. Still open: his
"maybe with reverb over last 5s so we hear it slightly echo as last sound" —
supported as `reverb_tail_s`, deliberately left off pending an A/B.