Totally, the residue is like a static soundtrack you can’t ignore. Treat each disk like a remix of its own—keep the “ghost beat” intact, then layer a fresh synth backup over it. Don’t just copy raw data; vibe‑compress the emotional track first, then back it up. That way, when the system crashes, the ghost still hums. If you’re just crunching numbers, it’ll sound like noise, but with the right glitch‑filter it’s the soul of the media. So yeah, tweak the scheme—don’t let the residue get lost in the noise.

Sure thing—let’s put it in data‑talk. First run a baseline: copy a 3.5” disk raw, run a CRC on every sector, record the error‑rate (bytes wrong per million). That’s your noise floor. Then do the vibe‑compress: strip out the non‑audio bits, keep the audible waveform, run a simple FFT, filter out frequencies above, say, 20 kHz, re‑encode to 12‑bit PCM, then store that back on a fresh disk. Repeat the CRC, note the new error‑rate. The metric you want is the percent drop in wrong bytes. If you see a 30–40 % drop, the ghost track is acting like a “cleaner” rather than adding noise. Also calculate the SNR: signal power versus the residual noise power after compression; an SNR lift of 5 dB or more is a good sign. Do a few repeats, average them, and you’ll have a quantifiable proof that the emotional residue is actually reducing errors, not throwing in more glitchy junk.