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Two new features follow the bass line itself: its envelope against the last moment, which rises and falls with every wub, and how open its filter is (spectral centroid of the bass and mids). Each wub swells the drop, and as the filter opens its surface crinkles and spikes like before. Every layer keeps a floor, so the drop never goes still and nothing snaps in from nothing; riddim gets its soft terraces back. Kicks still make it jump.