@slatesvideo/shared 0.6.4 → 0.6.5

package/package.json

@@ -1,6 +1,6 @@
 {
   "name": "@slatesvideo/shared",
-  "version": "0.6.4",
+  "version": "0.6.5",
   "description": "Shared operations layer for the Slates MCP server and CLI: auth, cloud/desktop clients, and the single tool surface both consume. Most users want @slatesvideo/mcp-server or @slatesvideo/cli instead.",
   "license": "MIT",
   "type": "module",

package/skills/slates-model-selection.md

@@ -105,10 +105,11 @@ Both tools are **Kling-only**. Every entry in them is a real Kling endpoint that
 
 | Job | Model | Why |
 |---|---|---|
-| **Default — a whole audio scene in one pass**: room tone, ambience beds, crowds, nature, layered dialogue + effects, spoken lines | **Seed Audio 1.0** (`seed-audio`) | One plain sentence in, a complete scene out. The continuity-bed workhorse and the only speech surface. |
+| **Default — a whole audio scene in one pass**: room tone, ambience beds, crowds, nature, layered dialogue + effects, spoken lines inside a scene | **Seed Audio 1.0** (`seed-audio`) | One plain sentence in, a complete scene out. The continuity-bed workhorse; dialogue is performed inside the room, not cast. |
+| **One named voice saying one line** — a character's own voice, a narrator, a clean VO to lip-sync against | **Inworld TTS-2** (`inworld-tts-2`) | The prompt IS the words, spoken verbatim and billed per character. Voice = the character's clip (cloned for the take), a description, or a preset. No room tone — mix it on the timeline. |
 | **One effect that lands on a known frame**, or a seamless loop | **Sound Effects v2** (`eleven-sfx`) | The only surface with an exact duration control and a real loop mode. |
 
-**There is no music model and no cast-voiceover model.** A song is imported (Slates reads audio files and puts them on the timeline), not generated. A line that has to be spoken is generated on Seed Audio and lip-synced against.
+**There is no music model.** A song is imported (Slates reads audio files and puts them on the timeline), not generated. A line that has to be spoken in a SPECIFIC voice is generated on Inworld TTS-2 and lip-synced against; a line that belongs to a scene is performed by Seed Audio inside it.
 
 ### Named audio escalation triggers
 

package/skills/slates-prompting-elevenlabs.md

@@ -28,7 +28,7 @@ description: How to prompt ElevenLabs Sound Effects v2 in Slates. Read before ca
 - `A heavy oak door slams shut in a stone hallway, brief reverberant tail.` (1.5s)
 - `Steady rain on a tin awning, no thunder, no wind gusts, seamless loop.` (18s)
 
-**Hard constraint:** it is billed per second and the duration is never left for the model to pick — that would make the charge non-deterministic. It is NOT a speech surface: dialogue, narration and scratch VO are Seed Audio, which casts and performs the line inside the scene.
+**Hard constraint:** it is billed per second and the duration is never left for the model to pick — that would make the charge non-deterministic. It is NOT a speech surface: a line in a specific voice is `inworld-tts-2`, and dialogue inside a scene is Seed Audio, which casts and performs the line in the room.
 <!-- @card:end -->
 
 <!-- @banned:start -->

package/skills/slates-prompting-inworld-tts.md

@@ -1,166 +1,174 @@
----
-name: slates-prompting-inworld-tts
-description: How to use Inworld Realtime TTS-2, the VOICE seat. Read before calling slates_generate_audio with model inworld-tts-2. Speech in a SPECIFIC voice, billed per character - the prompt is the words spoken, verbatim, max 2000. Covers the identity-versus-acoustics rule (what a reference clip does and does not carry), how to write a line so it is performed rather than read, when to reach for seed-audio instead, and the voice-consent rule.
----
-
-# Inworld Realtime TTS-2 — the voice seat
-
-<!-- @card:start -->
-<!-- slates-only -->
-<!-- MACHINE-READ. Everything between the @card markers is extracted by
-     src/prompts/craft-cards.ts and returned on every cost estimate for this
-     model, so it is the ONE piece of positive craft guidance the agent cannot
-     skip. Keep it under 2,400 characters (the build fails above that) and keep
-     the rationale and the worked examples in the body below. -->
-<!-- /slates-only -->
-**Card — Inworld TTS-2.** Speech in a SPECIFIC voice. The prompt is the words spoken, verbatim — not a description of them. Max 2000 characters, and the length of the text is the bill.
-
-**IDENTITY, NOT ACOUSTICS — the rule that decides whether cloning works**
-A reference carries WHO is speaking: timbre, pitch, accent, age, vowel shape. It does NOT carry WHERE they are — room tone, distance, phone EQ, reverb and mic character are *acoustics*, and this model reproduces the identity while discarding the room. So:
-1. **A noisy reference does not give a noisy read — it gives a WORSE identity.** Music, a second speaker or heavy reverb corrupt what is being extracted. Feed it the cleanest 5–15 seconds of one person you have.
-2. **You cannot get "on a payphone" by cloning a payphone recording.** Acoustics come from the MIX, or from `seed-audio` which renders a room.
-
-**DIRECTION GOES IN SQUARE BRACKETS. PARENTHESES ARE SPOKEN ALOUD.** `[whispering] I hope nobody notices` is whispered; `(quietly) I hope nobody notices` says the word "quietly" out loud. Verified by ear — the easiest way to ruin a take.
-
-- **Plain English works inside them** — it is natural-language steering, not a fixed vocabulary: `[very quiet]`, `[whisper in a hushed style]`, `[very slow]`, `[say excitedly]`. Non-verbals are their own tags: `[laugh]`, `[sigh]`, `[breathe]`, `[clear throat]`.
-- **A tag it does not recognise is still consumed, and still changes the read.** Never spoken, never an error — so a mistyped tag fails SILENTLY and only listening catches it.
-- **Tags persist across sentences** until changed; `[reset]` returns to normal.
-- **Punctuation is the timing.** `Wait. Stop.` differs from `Wait, stop.`
-- **One line, one take.** Split a paragraph so a bad clause costs one re-roll.
-- **Spell numbers and titles aloud:** `twenty twenty-six`, `Doctor Reyes`.
-
-**Route elsewhere when:** the scene needs dialogue mixed with effects and room tone in one pass (`seed-audio`), or it is a single non-speech sound (`eleven-sfx`). This surface makes ONE voice saying ONE thing, cleanly.
-
-**Hard constraints:** no duration parameter — length falls out of the text. Max 2000 characters per take. Every generation needs a voice; a voice is a field on a CHARACTER, not a per-generation pick.
-<!-- @card:end -->
-
-<!-- @banned:start -->
-<!-- slates-only -->
-<!-- MACHINE-READ. Every `backticked` token between the @banned markers is
-     extracted by src/prompts/banned-tokens.ts and returned on this model's cost
-     estimate, and every submitted prompt is matched against it. Keep entries
-     backticked and prose outside the backticks. -->
-<!-- /slates-only -->
-**Never use** — the prompt on this surface is SPOKEN ALOUD, so anything that describes the audio instead of being the audio gets read out as words:
-
-- `SFX`, `Ambient noise`, `Background music` as labels — this model speaks; it does not render a scene. Use `seed-audio` for those.
-- shot language: `wide shot`, `slow push in`, `warm tungsten` — video-prompt words, and here they would literally be said aloud
-- `voiceover`, `narrator says`, `he says` as stage directions wrapping the line — write only the words that should come out of the speaker
-<!-- @banned:end -->
-
-## Why the prompt is not a prompt
-
-On every other surface in Slates the prompt DESCRIBES what you want and the model interprets it. Here the prompt IS the deliverable: each character is spoken aloud and each character is billed. `a gravelly man says he is tired` produces a voice saying the words "a gravelly man says he is tired".
-
-That also means the two numbers a user cares about are the same number. The text length sets the price (in 250-character buckets) and sets the length of the audio. There is nothing to choose and nothing to reconcile.
-
-## Steering the delivery
-
-`VERIFIED BY EAR, 2026-09-05.` Every claim in this section was listened to, not
-inferred — an earlier draft of this skill documented tag forms that had only been
-probed for an HTTP 200, which proves the request was accepted and nothing about
-whether it was obeyed.
-
-**Square brackets are consumed. Parentheses are read aloud.** That is the whole
-rule, and getting it wrong is not a subtle degradation — the audience hears a
-narrator say the word "quietly" in the middle of your line.
-
-| Written | What comes out |
-|---|---|
-| `[whispering] I really hope nobody notices that.` | whispered, tag not spoken ✅ |
-| `[very quiet] I really hope nobody notices that.` | very quiet, tag not spoken ✅ |
-| `[whisper in a hushed style] …` | hushed, tag not spoken ✅ |
-| `[very slow] …` | slowed right down, tag not spoken ✅ |
-| `[laugh] …` | an actual laugh, then the line ✅ |
-| `(quietly, under his breath) …` | 🚨 **the words "quietly, under his breath" are SPOKEN** |
-
-**Plain English works — it is natural-language steering, not a fixed vocabulary.**
-Both the documented phrasings (`[whisper in a hushed style]`) and ordinary adverbs
-(`[whispering]`) were obeyed. Write the direction the way you would say it to an
-actor.
-
-The eight dimensions the model steers on, with a working example of each:
-
-| Dimension | Example |
-|---|---|
-| Emotion | `[say excitedly]`, `[sound sad]`, `[sound terrified]` |
-| Articulation | `[say with force]`, `[articulate clearly]` |
-| Intonation | `[say with a rising pitch]` |
-| Volume | `[very quiet]`, `[very loud]` |
-| Pitch | `[say in a low tone]` |
-| Range | `[say playfully]`, `[say with no pitch variation]` |
-| Speed | `[very fast]`, `[very slow]` |
-| Vocal style | `[whisper in a hushed style]`, `[give a nasal quality]` |
-
-Non-verbals sit inline where they happen: `[laugh]`, `[sigh]`, `[cough]`,
-`[breathe]`, `[yawn]`, `[clear throat]`.
-
-### Three rules that are not obvious
-
-1. 🚨 **A tag it does not recognise is still consumed, and still changes the read.**
-   `[zzzqqq]` is not spoken and does not error — it produces a different, arbitrary
-   delivery. So a typo in a tag is SILENT: there is no rejection, no warning, and no
-   way to catch it except listening to the take. Treat an unexpected performance as
-   a possible misspelled tag before you blame the voice.
-2. **Tags persist across sentences.** A `[very slow]` at the top governs everything
-   after it until something changes it. Use `[reset]` to go back to normal rather
-   than assuming the next sentence starts clean.
-3. **Do not stack opposing directions.** `[whisper in a hushed style]` together with
-   `[very loud]` produces unpredictable results — the model is resolving a
-   contradiction, and which side wins is not something you can rely on.
-4. **Tags COUNT toward the billed characters**, even though they are never spoken.
-   They are part of the text sent to the vendor, so the vendor charges for them and
-   so do we — billing what was actually sent is the only honest basis. It rarely
-   matters (a 13-character tag inside a 250-character bucket), but a line sitting
-   just under a bucket boundary can be pushed into the next one by a long
-   direction. Prefer `[very slow]` over `[say this one very slowly please]`.
-
-## Identity versus acoustics, at length
-
-This is the distinction that decides whether the feature feels good, and it is worth being precise about because the failure is quiet — you get a usable clip that is subtly not the person.
-
-**What a reference clip transfers:** vocal timbre, pitch range, accent and regional vowels, apparent age, speech rate tendencies, and the particular rasp or breathiness of the source speaker.
-
-**What it does not transfer:** the room, the microphone, the codec, the distance from the mic, any processing on the source, and any other sound present in it.
-
-So the ideal reference is boring: one person, close to a microphone, no music, no second speaker, no heavy reverb, five to fifteen seconds, speaking normally rather than performing. A phone voice memo in a quiet room beats a beautifully produced clip with a music bed underneath it.
-
-**Two failure modes, both common:**
-
-- *"I cloned my podcast intro and it doesn't sound like me."* The intro had music under it. The model averaged the music into the identity. Re-clone from a clean stretch.
-- *"I want the line to sound like it's coming through a car radio."* Clone the clean voice, then EQ and process the returned clip on the timeline. A radio-sounding reference makes a worse voice, not a radio effect.
-
-## Consent
-
-Cloning a real person's voice needs that person's explicit, documented permission, scoped to what you are making. Clone from original human recordings only — never from another model's output. This is the same gate the real-face route applies to likeness, and it applies here for the same reason.
-
-## Worked examples
-
-**A line with a direction**
-
-```
-[very quiet] I heard what you said in there. I'm not going to pretend I didn't.
-```
-
-**A line that needs its numbers spoken**
-
-```
-The vote was three hundred and twelve to eighty-nine. It carried at four minutes past midnight.
-```
-
-**A paragraph, split into three takes** — so one bad clause costs one re-roll:
-
-```
-1. You keep asking me why I stayed.
-2. It wasn't loyalty. It wasn't even fear, not by the end.
-3. [very slow] It was that I couldn't picture the version of me that left.
-```
-
-**What NOT to send**
-
-```
-(gravelly, tired) a tired old man narrates the opening of the film, wide shot, warm tungsten
-```
-
-Every word of that is spoken aloud — **including the parenthetical**, which is the
-trap: it looks like a stage direction and is treated as dialogue. Describe the voice when you are BUILDING one (the character's voice bench takes a description); once the voice exists, send only the words.
+---
+name: slates-prompting-inworld-tts
+description: How to use Inworld Realtime TTS-2, the VOICE seat. Read before calling slates_generate_audio with model inworld-tts-2. Speech in a SPECIFIC voice, billed per character - the prompt is the words spoken, verbatim. Covers the identity-versus-acoustics rule (what a reference clip does and does not carry), how to write a line so it is performed rather than read, when to reach for seed-audio instead, and the voice-consent rule.
+---
+
+# Inworld Realtime TTS-2 — the voice seat
+
+<!-- @card:start -->
+<!-- slates-only -->
+<!-- MACHINE-READ. Everything between the @card markers is extracted by
+     src/prompts/craft-cards.ts and returned on every cost estimate for this
+     model, so it is the ONE piece of positive craft guidance the agent cannot
+     skip. Keep it under 2,400 characters (the build fails above that) and keep
+     the rationale and the worked examples in the body below. -->
+<!-- /slates-only -->
+**Card — Inworld TTS-2.** Speech in a SPECIFIC voice. The prompt is the words spoken, verbatim — not a description of them. Text length determines the bill.
+
+**IDENTITY, NOT ACOUSTICS — the rule that decides whether cloning works**
+A reference carries WHO is speaking: timbre, pitch, accent, age, vowel shape. It does NOT carry WHERE they are — room tone, distance, phone EQ, reverb and mic character are *acoustics*, and this model reproduces the identity while discarding the room. So:
+1. **A noisy reference does not give a noisy read — it gives a WORSE identity.** Music, a second speaker or heavy reverb corrupt what is being extracted. Use a clean single-speaker recording.
+2. **You cannot get "on a payphone" by cloning a payphone recording.** Acoustics come from the MIX, or from `seed-audio` which renders a room.
+
+**DIRECTION GOES IN SQUARE BRACKETS. PARENTHESES ARE SPOKEN ALOUD.** `[whispering] I hope nobody notices` is whispered; `(quietly) I hope nobody notices` says the word "quietly" out loud. Verified by ear — the easiest way to ruin a take.
+
+- **Plain English works inside them** — it is natural-language steering, not a fixed vocabulary: `[very quiet]`, `[whisper in a hushed style]`, `[very slow]`, `[say excitedly]`. Non-verbals are their own tags: `[laugh]`, `[sigh]`, `[breathe]`, `[clear throat]`.
+- **A tag it does not recognise is still consumed, and still changes the read.** Never spoken, never an error — so a mistyped tag fails SILENTLY and only listening catches it.
+- **Tags persist across sentences** until changed; `[reset]` returns to normal.
+- **Punctuation is the timing.** `Wait. Stop.` differs from `Wait, stop.`
+- **One line, one take.** Split a paragraph so a bad clause costs one re-roll.
+- **Spell numbers and titles aloud:** `twenty twenty-six`, `Doctor Reyes`.
+
+**Route elsewhere when:** the scene needs dialogue mixed with effects and room tone in one pass (`seed-audio`), or it is a single non-speech sound (`eleven-sfx`). This surface makes ONE voice saying ONE thing, cleanly.
+
+**Hard constraints:** no duration parameter — length falls out of the text. Exactly one voice source: a preset `voiceId` from `slates_list_voices`, a clip as `voiceReferenceAssetId` (a character's voice clip to speak AS the character, or any clean clip of one speaker), or `voiceDescription`.
+<!-- @card:end -->
+
+<!-- @banned:start -->
+<!-- slates-only -->
+<!-- MACHINE-READ. Every `backticked` token between the @banned markers is
+     extracted by src/prompts/banned-tokens.ts and returned on this model's cost
+     estimate, and every submitted prompt is matched against it. Keep entries
+     backticked and prose outside the backticks. -->
+<!-- /slates-only -->
+**Never use** — the prompt on this surface is SPOKEN ALOUD, so anything that describes the audio instead of being the audio gets read out as words:
+
+- `SFX`, `Ambient noise`, `Background music` as labels — this model speaks; it does not render a scene. Use `seed-audio` for those.
+- shot language: `wide shot`, `slow push in`, `warm tungsten` — video-prompt words, and here they would literally be said aloud
+- `voiceover`, `narrator says`, `he says` as stage directions wrapping the line — write only the words that should come out of the speaker
+<!-- @banned:end -->
+
+## Why the prompt is not a prompt
+
+On every other surface in Slates the prompt DESCRIBES what you want and the model interprets it. Here the prompt IS the deliverable: each character is spoken aloud and each character is billed. `a gravelly man says he is tired` produces a voice saying the words "a gravelly man says he is tired".
+
+That also means the two numbers a user cares about are the same number. The text length sets the price (in 250-character buckets) and sets the length of the audio. There is nothing to choose and nothing to reconcile.
+
+## Steering the delivery
+
+`VERIFIED BY EAR, 2026-09-05.` Every claim in this section was listened to, not
+inferred — an earlier draft of this skill documented tag forms that had only been
+probed for an HTTP 200, which proves the request was accepted and nothing about
+whether it was obeyed.
+
+**Square brackets are consumed. Parentheses are read aloud.** That is the whole
+rule, and getting it wrong is not a subtle degradation — the audience hears a
+narrator say the word "quietly" in the middle of your line.
+
+| Written | What comes out |
+|---|---|
+| `[whispering] I really hope nobody notices that.` | whispered, tag not spoken ✅ |
+| `[very quiet] I really hope nobody notices that.` | very quiet, tag not spoken ✅ |
+| `[whisper in a hushed style] …` | hushed, tag not spoken ✅ |
+| `[very slow] …` | slowed right down, tag not spoken ✅ |
+| `[laugh] …` | an actual laugh, then the line ✅ |
+| `(quietly, under his breath) …` | 🚨 **the words "quietly, under his breath" are SPOKEN** |
+
+**Plain English works — it is natural-language steering, not a fixed vocabulary.**
+Both the documented phrasings (`[whisper in a hushed style]`) and ordinary adverbs
+(`[whispering]`) were obeyed. Write the direction the way you would say it to an
+actor.
+
+The eight dimensions the model steers on, with a working example of each:
+
+| Dimension | Example |
+|---|---|
+| Emotion | `[say excitedly]`, `[sound sad]`, `[sound terrified]` |
+| Articulation | `[say with force]`, `[articulate clearly]` |
+| Intonation | `[say with a rising pitch]` |
+| Volume | `[very quiet]`, `[very loud]` |
+| Pitch | `[say in a low tone]` |
+| Range | `[say playfully]`, `[say with no pitch variation]` |
+| Speed | `[very fast]`, `[very slow]` |
+| Vocal style | `[whisper in a hushed style]`, `[give a nasal quality]` |
+
+Non-verbals sit inline where they happen: `[laugh]`, `[sigh]`, `[cough]`,
+`[breathe]`, `[yawn]`, `[clear throat]`.
+
+### Four rules that are not obvious
+
+1. 🚨 **A tag it does not recognise is still consumed, and still changes the read.**
+   `[zzzqqq]` is not spoken and does not error — it produces a different, arbitrary
+   delivery. So a typo in a tag is SILENT: there is no rejection, no warning, and no
+   way to catch it except listening to the take. Treat an unexpected performance as
+   a possible misspelled tag before you blame the voice.
+2. **Tags persist across sentences.** A `[very slow]` at the top governs everything
+   after it until something changes it. Use `[reset]` to go back to normal rather
+   than assuming the next sentence starts clean.
+3. **Do not stack opposing directions.** `[whisper in a hushed style]` together with
+   `[very loud]` produces unpredictable results — the model is resolving a
+   contradiction, and which side wins is not something you can rely on.
+4. **Tags COUNT toward the billed characters**, even though they are never spoken.
+   They are part of the text sent to the vendor, so the vendor charges for them and
+   so do we — billing what was actually sent is the only honest basis. It rarely
+   matters (a 13-character tag inside a 250-character bucket), but a line sitting
+   just under a bucket boundary can be pushed into the next one by a long
+   direction. Prefer `[very slow]` over `[say this one very slowly please]`.
+
+## Identity versus acoustics, at length
+
+This is the distinction that decides whether the feature feels good, and it is worth being precise about because the failure is quiet — you get a usable clip that is subtly not the person.
+
+**What a reference clip transfers:** vocal timbre, pitch range, accent and regional vowels, apparent age, speech rate tendencies, and the particular rasp or breathiness of the source speaker.
+
+**What it does not transfer:** the room, the microphone, the codec, the distance from the mic, any processing on the source, and any other sound present in it.
+
+So the ideal reference is boring: one person, close to a microphone, no music, no second speaker, no heavy reverb, five to fifteen seconds, speaking normally rather than performing. A phone voice memo in a quiet room beats a beautifully produced clip with a music bed underneath it.
+
+**Two failure modes, both common:**
+
+- *"I cloned my podcast intro and it doesn't sound like me."* The intro had music under it. The model averaged the music into the identity. Re-clone from a clean stretch.
+- *"I want the line to sound like it's coming through a car radio."* Clone the clean voice, then EQ and process the returned clip on the timeline. A radio-sounding reference makes a worse voice, not a radio effect.
+
+## Getting the voice onto the call
+
+Exactly one source per call, and none of them requires a character to exist first:
+
+- **A preset:** `slates_list_voices` lists stock voices with gender, age, accent and tags — filter by any of them, or search the descriptions ("gravelly", "narration"). Pass the chosen `voiceId`. Presets clone nothing, so they are the fastest path and avoid the clone-creation rate ceiling.
+- **Speak AS a character:** `voiceReferenceAssetId: <its voiceAssetId>` (the clip on the row `slates_list_characters` returns). The seat clones the clip for that take and discards the vendor voice afterwards, so there is nothing to reconcile — but cloning shares a ceiling of two new voices a minute across every Slates user, so a run of lines in one cloned voice pauses between takes rather than failing. Send each line once; do not re-send one that already came back. Any other clean clip of one speaker works the same way.
+- **A voice with no recording:** `voiceDescription` (7–1000 characters of words). If it will be used again, keep the returned clip on a character with `slates_update_character` (`voiceAssetId`) so later lines clone the same clip instead of designing a new voice each time — a convenience, never a requirement.
+
+## Consent
+
+Cloning a real person's voice needs that person's explicit, documented permission, scoped to what you are making. Clone from original human recordings only — never from another model's output. This is the same gate the real-face route applies to likeness, and it applies here for the same reason.
+
+## Worked examples
+
+**A line with a direction**
+
+```
+[very quiet] I heard what you said in there. I'm not going to pretend I didn't.
+```
+
+**A line that needs its numbers spoken**
+
+```
+The vote was three hundred and twelve to eighty-nine. It carried at four minutes past midnight.
+```
+
+**A paragraph, split into three takes** — so one bad clause costs one re-roll:
+
+```
+1. You keep asking me why I stayed.
+2. It wasn't loyalty. It wasn't even fear, not by the end.
+3. [very slow] It was that I couldn't picture the version of me that left.
+```
+
+**What NOT to send**
+
+```
+(gravelly, tired) a tired old man narrates the opening of the film, wide shot, warm tungsten
+```
+
+Every word of that is spoken aloud — **including the parenthetical**, which is the
+trap: it looks like a stage direction and is treated as dialogue. Describe the voice when you are CHOOSING one (`voiceDescription`, or the desktop's voice picker); the prompt is only ever the words.

package/skills/slates-prompting-lip-sync.md

@@ -28,7 +28,7 @@ description: How to set up lip-sync — Kling-only (dedicated lip-sync and avata
 - `Soft rim light, warm office, gentle confident smile between sentences.`
 - `Cool blue evening light through a window, focused intent expression.` (Or `.` — an empty prompt is fine when you have nothing to add.)
 
-**Hard constraint:** it is Kling-only and always 5 seconds. For a generated PERFORMANCE instead — head movement, gesture, delivery energy, with the dialogue as a native conditioning signal — that is a normal Seedance video generation with the clip attached as a video reference, not a mode of this tool. Real voice or a cloned voice for production; TTS is for scratch.
+**Hard constraint:** it is Kling-only and always 5 seconds. For a generated PERFORMANCE instead — head movement, gesture, delivery energy, with the dialogue as a native conditioning signal — that is a normal Seedance video generation with the clip attached as a video reference, not a mode of this tool. A real recording, or a cloned/cast voice rendered on `inworld-tts-2`, for production; this tool's built-in TTS is for scratch.
 <!-- @card:end -->
 
 <!-- @banned:start -->

package/skills/slates-prompting-seed-audio.md

@@ -48,7 +48,7 @@ ByteDance's one-pass audio scene model, carried on fal (`bytedance/seed-audio-1.
 ## Where it routes
 
 - **Scene audio, room tone, ambience beds, crowd/nature soundscapes** — anything where several sounds share a space. One generation, not three layered ones.
-- **Dialogue and scratch VO.** This is the only speech surface in Slates: the line is performed inside the scene. Lock the read by re-rolling until a take is right, then lip-sync against it with `slates_generate_lip_sync`.
+- **Dialogue and scratch VO inside a scene.** The line is performed in the room, by a voice the scene casts. When WHO is speaking matters — a character's own voice, a clean narrator — that is `inworld-tts-2` instead. Lock the read by re-rolling until a take is right, then lip-sync against it with `slates_generate_lip_sync`.
 - **NOT** a single effect that must land on a known frame — that is `eleven-sfx`, which takes an exact duration.
 - **NOT** music. Slates has no music model; import a track and drop it on an audio track.
 - **AUDIO-ONLY.** It cannot produce images or video.