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Elias wasn’t a hacker by trade. He was a sound engineer, a brilliant one, or at least he used to be before the industry shifted to immersive audio. He had the ears, but he didn’t have the license. The Dolby Atmos Production Suite cost thousands—money he didn't have after a disastrous divorce and a drying up of royalty checks. The "exclusive" nature of the Mac architecture was his fortress; he knew the Windows cracks were rampant but unstable. The Mac version was the Holy Grail. It used specific, obscure Core Audio kexts that made reverse engineering a nightmare. By choosing legitimate ways to access the software,