He thought of his half‑finished song—a melancholic piano ballad called “Rain‑Soaked Streets.” It was about his grandmother, who had taught him how to play the shamisen as a child, and how the city’s rain always reminded him of her lullabies.

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He downloaded the trial, installed it, and began to experiment. The trial allowed him to edit up to five notes per track. He meticulously chose the most crucial moments in his vocal line and applied the subtle pitch adjustments. The result was far from perfect, but it preserved the raw emotion he had captured in the original recording.