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—Take forty-one, Fito. Whenever you're ready. —Ainara, it's twenty past nine. What was wrong with forty? —Nothing. Forty was good. —I've been dubbing for twenty-two years and nobody has ever asked me for forty-one takes of a two-word line. Give me the client's note and I'll hand it to you done. —There is no note. It's in the technical specification, point four: forty-one takes of the same line, same actor, same booth, same day. —That is not a dubbing direction. —It isn't. The platform is training a synthetic voice on yours. Forty takes so the model learns the range of your “I'm fine”, and take forty-one, recorded last, to measure whether it has caught up with you. —And you tell me on forty-one? —I'm the sound engineer, Fito, not the one who signs the contract. I've been at the desk since six and I've spent forty takes deciding whether to tell you. —I could do it badly. —You could. And the model learns to do it badly, which is how it keeps learning. Listen to one thing first: forty was the best of the forty. It still doesn't get there. That's why they need one more. —Hit the red light. —Red. Take forty-one. —“I'm fine.”