Not one verdict about a whole track. The machines, section by section — and the route to getting there yourself.
Whatever you hold the rights to. Never a streaming link.
The most energetic 120 seconds, found by energy.
Drums, bass and melodic, pulled apart. Vocals stay in memory.
Each layer becomes a vector that describes its timbre.
Matched against 851 recordings of real hardware.
Named with the confidence it has — never rounded up.
Naming the machine is where most tools stop. This is the part that changes what you do next.
Decay long enough to ring under the bass, tuned down until it sits with the root. The tail is doing the sub work.
Late by a hair against the grid, with the reverb gated to the step so it never crosses into the next beat.
Open hat pushed forward in the build and pulled back in the drop — the energy comes from the hat, not the kick.
Every number here was measured. Decay in milliseconds, sidechain depth in decibels, the reverb tail in seconds — those travel, because an instrument produced them. A plugin setting reverse-engineered from an envelope does not, however plausible it would read. We measure the envelope that survived, not the compressor that made it.