Yeah, I get that. The decibel limits feel like a hard boundary on my canvas. I keep pushing my rhythms to the edge of the threshold, then back off and rework them until the envelope fits. I use layers of thin, high‑frequency elements that fade into each other so the peaks stay under the bar, and I mix in low‑frequency pulses that sit quietly in the background. It’s a constant trade‑off—tight envelopes, but still those unexpected pulses that feel alive. If I over‑analyse it too much, the music can freeze, so I set a timer, play a few seconds, and then step back. That way the regulations become a chessboard, not a cage, and my abstract patterns can still move.