I’d start by isolating the hit pattern: kick on 1 and 3, snare on 2 and 4, hi‑hats steady eighths. That gives a baseline. Then look for deviations—every now and then the hi‑hat shifts to a sixteenth or the snare gets a ghost note. Those irregularities are the code. If you line up the accented beats and read them as binary—hit as 1, no hit as 0—you end up with a string that can spell out “YES” or “NO” depending on the rhythm. In most loops the hidden message is just “play on.” That’s the secret: the pattern isn’t in the notes, it’s in the spaces you choose to ignore.