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He treated each loop like a character. There was "Tine"—a brittle metallic hit that always arrived just late enough to make the others snap to attention. "Marrow" was a low, fibrous thud that married rhythm to gravity. "Satin" blurred the edges: filtered noise swept with micro-automation, like a slow wave passing across skin. He sculpted each instrument with the care of a jeweler, turning knobs until their personalities argued and then compromising.