{"product_id":"luma-deck","title":"Luma Deck","description":"\u003ch2\u003e\u003cspan\u003e1. Problem Statement\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eA composition may have a clear rhythm and structure but still feel disconnected because its tones and textures do not work together. Learners often select each new element separately without comparing it with the layers already in place. Several strong sounds may then compete for the same role and overcrowd the central part of the beat. Background details may become too noticeable, while the main musical phrase loses its place in the composition. Without a system for selection and revision, it can be difficult to form a palette where all elements have different functions while belonging to one shared sound environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003e2. Solution\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLuma Deck introduces a method for reviewing each layer by character, range, duration, density, and composition role. Learners study how a restricted palette can create more order than the continuous addition of new details. The materials show how related and contrasting textures can work together without weakening the central rhythmic direction. Practical exercises help divide the composition into foreground, middle, and background areas. The final assignment combines rhythm, musical phrases, a low-frequency layer, and textures within one connected sound system.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003e3. What’s Inside Luma Deck\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch3\u003e\u003cspan\u003eModule 1. The Sound Palette as a System\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe first module explains that a sound palette is not a random collection of elements. It is a group of layers with a shared character and separate functions. Each sound is reviewed in relation to the rhythm, pauses, and musical phrases around it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLearners organize elements using five parameters:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\u003cspan\u003esoft or sharp character;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eshort or long shape;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ebright or dark tone;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eforeground or background position;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003econtinuous or occasional role.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe practical exercise creates two palettes with the same number of elements. The first is built without a plan, while the second follows a defined character. Learners compare them and record which version has clearer relationships between layers.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 2. The Central Composition Element\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eWhen several layers are equally prominent, the listener may not know where to direct attention. In this module, learners select one central element and organize the remaining parts around it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe central element may be a rhythmic motif, a short musical phrase, low-frequency movement, or a recognizable texture. Other layers support it through repetition, pauses, contrast, or rhythmic response.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLearners create three versions of a short section. Each version places a different element in the central role. The comparison shows how changing the focus affects the complete beat.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 3. Foreground, Middle, and Background\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eA composition may feel flat when all elements appear on the same level. This module explains how layers can be divided into foreground, middle, and background areas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe foreground contains elements that attract attention. The middle area supports rhythm and musical content. The background creates an environment without covering the central idea.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIn the practical task, learners create a depth map. Each layer receives a position, and the completed map is reviewed for overcrowding within one area.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 4. Related Textures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eRelated textures share a similar character, duration, or pattern of appearance. They help preserve continuity between different composition sections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe module shows how several layers can be connected through one shared quality. Two elements may have a short shape, a soft beginning, or a related rhythmic movement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLearners create a group of three related textures and distribute them across several sections. The textures should not appear together without a clear reason. Instead, they provide a link between different parts.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 5. Contrasting Textures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eContrast can highlight a section, transition, or selected moment. However, too many contrasting elements may weaken the shared character of the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe module examines contrast through duration, density, character, and rhythmic placement. Learners select only one main contrast type for each exercise.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe practical task contains two sections. The first uses soft and short textures, while the second introduces one longer or sharper layer. Learners review whether the contrast supports the purpose of the section.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 6. Tonal Relationships Between Layers\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eEven short musical elements can create a sense of agreement or tension. This module introduces basic analysis of pitch relationships without relying on dense terminology.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLearners compare the main phrase, low-frequency layer, and supporting musical details. The aim is to determine whether they support one direction or create an intentional contrast.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe module includes a tonal-role table:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\u003cspan\u003esupporting element;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003erecurring tone;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003econtrasting event;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003etransitional detail;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eclosing element.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe practical exercise changes only one layer while the other parts remain in place. This helps learners hear how a single detail affects the complete section.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 7. Duration and Space\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLong elements occupy more composition space than short ones. When several extended layers appear together, rhythmic details may lose clarity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLearners analyze the duration of every element and mark where overlaps occur. They then create two versions: one with dense overlap and another with controlled pauses.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eA separate task focuses on shortening long elements. Learners review whether part of a phrase can be removed while preserving its role.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 8. Texture as Part of the Rhythm\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eA background or atmospheric layer also has rhythmic behavior. It may remain present, return after several bars, or appear only near transitions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe module presents three models:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\u003cspan\u003econtinuous texture;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eperiodic texture;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003esection-based texture.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLearners create all three versions for one composition map. They then determine which model leaves suitable room for the main rhythm and musical phrases.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 9. A Restricted Palette\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eContinuously adding new elements can make revision more difficult and weaken the shared composition character. In this module, learners work with a defined number of layers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe exercise uses:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\u003cspan\u003eone main rhythmic framework;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eone low-frequency layer;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eone central musical phrase;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003etwo supporting textures;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eone transitional element.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLearners create several sections without adding new sounds. Changes are formed through rhythm, duration, pauses, rearrangement, and placement across foreground and background areas.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 10. Palettes Across Different Sections\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eA composition does not need the same number of layers in every part. In this module, the palette is distributed across the opening, development, central section, contrast, and ending.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLearners create an element-use table. It marks where each layer first appears, where it returns, how it changes, and where it is removed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis approach prevents every element from remaining active from beginning to end. Each layer receives its own path through the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 11. Revising Excess Detail\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIn this module, learners review the composition and identify layers that repeat an existing function. The analysis is completed separately for rhythm, musical phrases, low-frequency material, and textures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eEach element is reviewed through several questions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\u003cspan\u003eWhat role does it perform?\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eIn which section is it needed?\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eDoes it cover the central phrase?\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eCan its duration be reduced?\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eIs it needed in every repetition?\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eDoes another layer perform the same function?\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLearners then create a reduced composition version. Selected details are returned only where they have a clear purpose.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 12. Sound Contrast Between Parts\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eA contrasting section may use another palette while remaining connected to the wider form. To preserve that relationship, learners keep one shared rhythmic or textural marker.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe module presents three forms of change:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\u003cspan\u003ereplacing the central phrase;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003echanging the relationship between foreground and background;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ereducing the palette to several foundational elements.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLearners create three contrasting sections. They then select the version that has its own character while maintaining a connection with the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eModule 13. Luma Deck Final Assignment\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe final assignment is a composition with six or more sections built around a restricted and consistent palette. Learners define the central element, divide layers across depth areas, and create a map of their appearance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe work contains:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\u003cspan\u003eone central rhythmic or musical element;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea coordinated low-frequency layer;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eat least two related textures;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eone contrasting textural element;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eseveral density levels;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea section with a reduced palette;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ethe return of a familiar element in another role;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ean ending with a gradual reduction of layers.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAfter creating the first version, learners complete three revision passes. The first reviews the composition focus, the second examines depth placement, and the third removes excess detail.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eA revised version is then created. Learners compare both versions and describe how the interaction between rhythm, musical phrases, and textures has changed.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eAdditional Luma Deck Materials\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe tier contains:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\u003cspan\u003ea sound-palette map;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ean element character and duration table;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea central-layer template;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea foreground, middle, and background map;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea related-texture worksheet;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea textural-contrast outline;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea tonal-role table;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea duration and overlap map;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea texture rhythm outline;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea restricted-palette template;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea section layer-distribution table;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ean excess-detail review checklist;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea final composition map;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea revision journal;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ea glossary of course concepts.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003e\u003cspan\u003e4. Who Is This For?\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLuma Deck is intended for learners who can already create a rhythmic framework, composition form, and connected transitions. It is suitable for those whose work has a clear structure but contains sound layers that do not always fit together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe materials may help learners who regularly add new elements instead of revising the palette already in place. The course is also suitable for those who find it difficult to divide central, supporting, and background elements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eLuma Deck continues the topics introduced in Flow Guide and adds detailed work with sound character, space, and tonal relationships. The materials do not refer to specific software, operating systems, or external services.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003e5. What You’ll Learn\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAfter completing Luma Deck, learners will be able to:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\u003cspan\u003ecreate a sound palette around a defined character;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ereview elements by duration, density, and role;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eselect the central layer of a composition;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003edivide sounds into foreground, middle, and background areas;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ecombine related textures;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003euse one contrasting element to highlight a section;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eanalyze tonal relationships between layers;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003econtrol overlap between extended elements;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003euse texture as a rhythmic part of the composition;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ework with a defined number of layers;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ecreate changes without continuously adding new elements;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003edistribute a palette across different sections;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ecreate a path for every layer;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eidentify details that repeat the same function;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eshorten phrases and textures to create space;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eform contrast with a shared sound marker;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003erevise a composition through several structured passes;\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ecreate a connected form with a coordinated sound palette.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003e\u003cspan\u003e6. 30-Day Refund Terms\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eA refund request for Luma Deck may be submitted within 30 calendar days from the order date. Each request is reviewed according to the refund terms published on the Xelmoniq website.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBefore placing an order, learners are encouraged to review the course structure, module list, and material format. The request should include the information needed to identify the relevant order.\u003c\/span\u003e\u003c\/p\u003e","brand":"Xelmoniq","offers":[{"title":"Default Title","offer_id":58419153633628,"sku":null,"price":202.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1036\/8850\/3644\/files\/Luma_D.jpg?v=1785064113","url":"https:\/\/xelmoniq.com\/products\/luma-deck","provider":"Xelmoniq","version":"1.0","type":"link"}