Hookiest

Aja” voicings, add quirky off-kilter accent-crescendos transitioning to the chorale release, deep bass line mode, innovative percussion combine with drumkit psychologically clanging cymbal over captivating emphatic complexity through modern take on jazz music that incorporate rich sevenths (major and minor), dominant sevens ("the big seven") and quartal harmonies throughout the ultimate expression of this contemporary blend of melody with unconventional chords and playful beats while drum intensification culminates in powerful and imposing chorus and melodies, dub bassline syncopated with Afro-Caribbean rhythms and inventive percussion fills, vocals float above its hypnotic morass, A modern jazz fusion track featuring lush drop 2 and drop 3 chords on electric guitar, merging major/minor 7th, dominant 7th, and quartal harmonies, Delay and Slapback Vocal with ↀ Buccal Airstream + Œ Œsophageal Airstream + ↓ Pulmonic Ingressive Vocal creak, Art-Damage Intentional-Wrong-Notes into Marshall

breakdown story [L̞ Voice]:” [Harsh]:” (◌ꜝ) (◌ꜝꜝ)”, [Harsh Voice]:”(Creaky Voice)”, {V!} ("Harsh Voice"), [ ("Ventricular Phonation") {V͈} ][("Pressed Phonation/Tight Voice")]:” (◌ꜝ) (◌ꜝꜝ)” (Creaky Voice)” [V! Ventricular Phonation] [V͈ Pressed Phonation/Tight Voice] [L̞ breakdown story [L̞ Voice]:” [Harsh]:” (◌ꜝ) (◌ꜝꜝ)”, [Harsh Voice]:”(Creaky Voice)”, {V!} ("Harsh Voice"), [ ("Ventricular Phonation") {V͈} ][("Pressed Phonation/Tight Voice")]:” (◌ꜝ) (◌ꜝꜝ)” (Creaky Voice)” [V! Ventricular Phonation] [V͈ Pressed Phonation/Tight Voice] [L̞ Voice]:” [Harsh]:” (◌ꜝ) (◌ꜝꜝ)”, [Harsh Voice]:”(Creaky Voice)”, {V!} ("Harsh Voice"), [ ("Ventricular Phonation") {V͈} ][("Pressed Phonation/Tight Voice")]:” (◌ꜝ) (◌ꜝꜝ)” (Creaky Voice)” [V! Ventricular Phonation] [V͈ Pressed Phonation/Tight Voice]:”Yeah, RFK Tells MAHA Kids to Play Polio! She takes off her blouse and peels down her stockings, " says RF JUNE "It was good, " said ' I'd like to meet your brother, ' So I got Bobby on the phone and I said

Fairchild 670 14-Rack-Space Dual-Channel Component-Limiter Fast-Attack-Time Six-Timing-Curves Low-Distortion-Noise And Skibbe-Electronics 736-5 500-Series Mic / Pre-Amp Used By “Sly Stone” — Flickinger Mod-N-32 Matrix-Console With Red-Stripe All-Tube Discrete Optical-Limiter Compressor With T4B Optical-Cell Smooth-Limiting Action Limiter To Vocals And Bass And Mix-Bus-Compressio With La2A Compressor Using Audio-Transformers By Mesanovic Gain — Phantom-Power — Polarity — 20Db Pad — Adjustable 20Db — 535-7 Op-Amp 500-Series Eq Audio-Process Tonal-Frequency Graphic-Equalizer With Parametric-Control Over Audio-Gain To 1, 4Db Boost (+) Volume-Enhance To +12Db Res Range 0, 71 — Band Surgical Correction Wider-Q Shaping for engineers or producers tracking To 32-Channel Neve-8068 Console With Reeves Gabrels guitar parts, playing his Signature Reverend “Spacehawk Supreme” guitar the Hyper-Vintage Neck with Bigsby Roller-Bridge and switchable Three-Piece Korina-neck of 24 3/4-inch Neck-Profile with

A festive rock track opens with a jazzy Christmas trombone atop tight, syncopated drums in 2/4 clave—percussion alternates timbales and toms, each meticulously mic’d for warmth and clarity, Reeves Gabrels’ Spacehawk Supreme riffs pulse through vintage preamps, enriched by pedal-steel texture, Backing rock-chorale vocals, captured via ribbon mics, weave lush harmonies, Everything is summed to the Neve-8068; the Fairchild 670 imparts rich analog punch, giving guitar and percussion dynamic, soulful presence throughout the arrangement, Have yourselves a merrymaking contest for your favorite little MERRYMAKING YA ya ya ya ya ya ya ya ya ya ya ya ya I love IT and knock it off the floor Fairchild 670 Dual-Channel Limiter Tracking on 32-Channel Neve-8068 Console, for engineers or producers tracking the 32-Channel Neve-8068 Console for guitarist Reeves Gabrels parts playing his Signature Reverend “Spacehawk Supreme” guitar Mic’d Via Akg-D112 and Sennheiser-604, Drumkit and Percussion Timbal

Swing Tympani extra ring sustain on eighth notes, WHEEEEEEE SCARED ME ELF! [elfs singing, ] Ghostly Echoes Before Distorted, Swing, Experimental Ghostly Echoes Before Distorted Guitars Kickin Open The Song Up Into A Grooving Psych Chugger, Flirts With Prog Across Its Vast Voyage, Beautifully Tender And Dreamy End To This Gem, Boisterous Choir And Sweep Swapping Between Vintage Amps And Driven Proco Rat Distortion Pedal, Layered Guitar Tones Shift From Dirty Warmth To Tube-Broken Wail, Playful Instrumental Breaks as a ((rockstar)) with ((fishtail braid)), !, [solo] !, !, !, !, ! ! Fairchild 670 Dual-Channel Limiter Tracking on 32-Channel Neve-8068 Console, for engineers or producers tracking the 32-Channel Neve-8068 Console for guitarist Reeves Gabrels parts playing his Signature Reverend “Spacehawk Supreme” guitar Mic’d Via Akg-D112 and Sennheiser-604, Drumkit and Percussion Timbales Alternating With Toms In 2/4 Clave time use Clip-On-Rack And Floor-Toms

Sho-bud Pedal Steel with phase and chorus, red Rhodes velvet hammer pickups, Reeve Gabrels guitar solo with signature Reeves Gabrels Spacehawk Supreme with kill switches for stuttering rhythm shimmer, room sound Shure mic ceiling feed Neve 1073OPX placement reflections off wood ceiling, High Pass Filter: 18dB per octave slope, switchable between 50Hz, 80Hz, 160Hz & 300Hz, Audio Output: Maximum output is >+26dBu into 600Ω, transformer balanced and earth free, Distortion: Not more than 0, 07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) into 600Ω, Frequency Response: ±0, 5dB 20Hz to 20kHz, -3dB at 40kHz, EQ Out, Noise: -83dBu all line gain settings (22Hz to 22kHz bandwidth), EIN: Better than -125dBu @ 60dB gain, Delay and Backward Output, Dusty Vinyl Crackle, guitar turnaround, Low Frequency: Smooth +/-26Db Shelving With Selectable Frequencies Of 55Hz, 60Hz, 110Hz & 220Hz, Mid Frequency: Smooth +/-18Db Peaking, Fixed ‘Q’ Selectable Centre 3, 2Khz, High Pass Filter

Reeve Gabrels guitar solo, Reeves Gabrels Spacehawk Supreme sports three Railhammer pickups - lays out a sonic buffet to satisfy daring tone hunters with a bevy of switching options - supplements 5-way pickup selector, phase switch is push-pull in the tone knob adds bridge pickup, studio Mics used: SF-24V: chorale Room SF-2, SF-24: Sections, R-122V: Strings, R-121 Harp pizzicato, dBooster: support Woodwind mics first notes: E F, E flat Natural, F Phrygian, G flat major over F major, Guitars Kick-in And Open-Up Into Grooving Psych-Chugger, outro Flirty Prog-Voyage, Boisterous Vintage Amps And klon Pedal Tonal Shift into Dirty Tubescreamer Break with California Cosmic American Pedal Steel]:”sufficiently old to keep loose, used: SF-24V: chorale Room SF-2, SF-24: Sections, R-122V: Strings, R-121 Harp pizzicato, dBooster: support Woodwind mics first notes: E F, E flat Natural, F Phrygian, G flat major over F major, Guitars Kick-in And Open-Up Into Grooving Psych-Chugger, outro Flirty

This is a hip-hop track with a moderate tempo and a minor key, The instrumentation includes a synthesized bass, a drum machine providing a trap-style beat with prominent hi-hat rolls, and a synthesized pad playing sustained chords, A male vocalist delivers rap verses with a clear, rhythmic flow, The production features a clean mix with a focus on the vocals and a driving beat, There are no complex chord progressions, maintaining a consistent harmonic foundation throughout the excerpt, The vocal delivery is confident and direct, without significant effects or processing

Reeve Gabrels guitar solo, Reeves Gabrels Spacehawk Supreme sports three Railhammer pickups - lays out a sonic buffet to satisfy daring tone hunters with a bevy of switching options - supplements 5-way pickup selector, phase switch is push-pull in the tone knob adds bridge pickup, studio switch (push-pull volume knob) allows 7 pickup combinations - neck+bridge - neck+middle+bridge, kill toggle for instant on-off, Semi-Hollow Korina, Solid Maple Top, Railhammer Alnico Grande Bridge+Hyper Vintage Bridge+Hyper Vintage Neck, Bigsby B50 with Roller Bridge, Three-Piece Korina neck - Scale 24 3/4", Neck Profile: Medium Oval, Fingerboard: Ebony - 12" Radius, Frets: 22 - 0, 118"W x 0, 057", Kill Toggle, Phase, Studio, 5-Way, 1970s California Country Rock, Cosmic American Music, b-bender guitar (device for pedal steel guitar effects), red Rhodes velvet hammer pickups] turbulent Vortex of passionate miracle Tut-tut" [ǀ, ǀ] [tʌt tʌt]Ugh" [ʌx] ("Disgusting!")

Lucie Kantrow brgeneral general counsel and my indelible anamnesis lelambully, littlelamby, littbully, littlebully, littlelambbully, littlelambly, litlbully, litly, littlelamlbully, littlelamly, littl

chicago blues tribute, digital choir, string quartet recorder jazz tango

dance-wacking, can't they? MERRY CHRISTMASNICE Oh, yeah, ain't got no Please audio sequencer, automation, balance, bass, correct gain-structure, never-boost noise-SNR (signal-to-noise ratio), 50dB SNR-boost, bounce-channel, Clipping compression, compressor, Neve-console, Cubase Cut, dB — dB/oct dBSPL, decay on-Delay Track depth, Digidesign DigiRack, EQ-distortion, drumkit Drums-Tracking early reflections-effect, equalizer-fader, feedback-Figure, frequency-spectrum-Sophisticated Cinematic-noir-soundscape with sophisticated-edge, elegant hints of tension and mystery, lush strings and muted brass, reminiscent spy-thriller soundtrack builds suspense, Smooth and Soulful, Keep vocals smooth and soulful with slight reverb to give ethereal distant quality, Let instrumental sections breathe with legato phrases and expressive slides that connect the notes fluidly, Melodic and Reflective Emphasis on melodic-lines reflect introspective octave-slides to create a sense-of-movement and

Chicken-Picking twang fingerpick and thumbpick fingerpicking with the $90 bespoke picks, extended guitar-soloist, Reeves Gabrells, country-spirited guitar-solos in-concert with Rhodes-Mark-V-Electric-piano, Moog, Weird Art-Damage, Sho-bud Pedal-Steel with phase and chorus, Drumkit / Percussion stack: Timbales Alternate With Toms 2/4 Clave-Time, honky-tonk-piano play as Intentional Unknown Music: boost tuba (900 Hz +3dB), Mississippi juke-joint experiment using Electro-Harmonix Micro-Synth guitar-pedal and Moollon Tremolo into Neve-1073OPX mic-preamp warming-up the Akg-D112 And Sennheiser-604 mics (Neve 1073DPA provides two world-famous Class A Neve 1073 microphone preamplifiers in a single rack space — 1073 is premier mic-preamp, big punchy 1073 from rock to rap to jazz to classical Its lush sound with classic Neve signature makes it the consummate mic pre for recording vocals, guitars, and acoustic instruments of all descriptions, With the 1073DPA, the highly sought-after 1073 mic

Fairchild 670-Dual-Channel-Limiter Neve-1073-preamp-EQ FOR Balanced-Harmonic-Saturation tracking Rock-Band to 32-Channel Neve-Console direct-in to Fairchild-670-Limiter For Dynamic-Range Fast-Attack Tracking, Guitar-Stack: Reeves-Gabrels Plays Signature Reverend-Spacehawk-Supreme guitar, plays Christmasy music, Recording Bounce-Back-And-Forth — Left-And-Right-Channels, gallop-variations on-pattern eighth-note-followed-by-two-sixteenth-notes, Abrupt Shifting and Underquoted drum-quoting in 4/4 to 6/8-time signatures, Live-Out-Of-Phase Tracking with Rhodes-electric-piano Vibrato-Enabled-into-Limiter, Guitar Stack: Reeves-Gabrells into Klon-overdrive guitar Tremolo and Delay pedals for funk-jazz-swing w chops-oriented syncopated doubled-harmony mixed with double-unison riff-lines quoting classic-riffs (sampling-realtime), even-percussion with drumkit lines abruptly shift quoting behind-the-beat delay-drenched rock-licks with buttery-tone cranking-up Dumble-growl, pedal-steel mic-through

Outlaw country, choir, barbershop, duck calling, honky Tonk, country, swamp rock, truck driving country, guitar solo

↓ pulmonic ingressive Ю tracheo-œsophageal creak compression effects for breathy output eq by vintage RCA Ribbon Mic, room mic is Shure close to ceiling into Neve 1073OPX, mic placement reflects off wood for Reeves Gabrels Spacehawk Supreme guitar, three Railhammer pickups and kill-switch for immediate on-off while guitar resonance is from limiter compressor distressor from timeworn Korina tonewood Top and Alnico Grande pickups, 2 guitar b-bender for pedal steel flourishes with red Rhodes velvet hammer pickups, guitar amp is Dumble Super-Overdrive 100-watt, playing cosmic 1970s California Country Rock into Neve High Pass Filter: 18dB per octave slope, switchable 50Hz, 80Hz, 160Hz & 300Hz, transformer balanced Distortion: no more than 0, 07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) into 600Ω, Frequency Response: ±0, 5dB 20Hz to 20kHz -3dB at 40kHz, EQ Out, Noise: -83dBu all-line gain (22Hz to 22kHz)

Yeahh son get it! riding bitch on a jackass on a hundred [Intro] Let's get Remember heggy win ya grabbed that lsu dancer on the stage by the cat and immediately erectile pukered piker style blackout drunk while in Baton Rouge on biz for ya veterans bottomless line we had to oorah ya special forces style and frogmarch ya hogtie Dumble-Super-Overdrive-100-watt amp Into Neve-mic-preamp-1073 EQ, ** Arrangement Notes Drums: Funky, tight “on-the-one” groove—snare on beats 2 and 4, in the style of Al-Jackson-Jr, Bass: Deep, syncopated and elastic, in full Bar-Kays swagger—melodic, groove-centered, Horns: Intro: Three independent horn voices (trumpet, tenor sax, baritone sax) with melancholic minor-toned-melody and slow-dirge-soul, Horns shift into syncopated melodic chorale harmonies between third and fifth unison of song-key, Guitar-Stack: “Steve-Cropper-inspired Memphis Soul Guitarist, During Bridge Insert

Begin with audience applause, enthusiastic group-singing, and catcalling, A male voiceover—crisp, dry, and center-panned—cuts through a sparse atmospheric bed: deep, sustained synth pads and a slow-attack, high-pitched synth melody set a melancholic tone, Soft finger snaps and light woodblock accents create a gentle pulse, wide in stereo for space, drawing contrast with the focused center of the announcer, The band transitions seamlessly from the intro as the live 32-channel Neve console captures every nuance, priming for the upcoming guitar solo, Reeve Gabrels guitar solo, Reeves Gabrels Spacehawk Supreme sports three Railhammer pickups - 32-Channel-Neve Mobile-Studio Live-Truck-Console tracking Concert which Starts With Audience-Applause And Group-Singing Catcalling-Approval, Male-Voiceover-Introduces Piece Speaking-Over Sparse- Atmospheric-Soundscape, Voice Is Clear And Centrally-Panned, Background-Music Features Sustained-Low-Frequency-Synth-Pads Creating Sense-Of-Anticipation

Reeve Gabrels guitar solo, Reeves Gabrels Spacehawk Supreme sports three Railhammer pickups - 32-Channel-Neve Mobile-Studio Live-Truck-Console tracking Concert which Starts With Audience-Applause And Group-Singing Catcalling-Approval, Male-Voiceover-Introduces Piece Speaking-Over Sparse- Atmospheric-Soundscape, Voice Is Clear And Centrally-Panned, Background-Music Features Sustained-Low-Frequency-Synth-Pads Creating Sense-Of-Anticipation and Subtle-High-Pitched -Synth-Melody With Slow-Attack And Decay Enters Adding Melancholic-Texture, Soft-Percussive Finger-Snaps and Light-Woodblock Provide Gentle-Rhythmic- Pulse, Production Is Clean With Wide-Stereo-Image For Atmospheric-Elements And Focused-Center For Voice, ", Kill Toggle, Phase, Studio, 5-Way, 1970s California Country Rock, Cosmic American Music, b-bender guitar (device for pedal steel guitar effects), red Rhodes velvet hammer pickups] turbulent Vortex of passionate miracle Tut-tut" [ǀ, ǀ] [tʌt tʌt]Ugh" [ʌx] ("Disgusting!")

Fairchild 670 Limiter Fast-Attack To 32-Channel Neve Console With Reeves Gabrels Playing His Signature Reverend Banjo “Spacehawk Supreme” mixing On Never 1970 Both Input Haus Bro’bad Stud Lie’k’his B’4 U De Spies Decorate it de Offer (on-one) Dark Bard somebawon track’n’n’tight somebawon (Haint studio) kom up ya guhcan “… I guhcan chick riotous” Ryouko (dirgesoul) Fanta (on-2 • 4) K-Fu (Barkay swag) Gari (cropperesque) Sweet Mac (basslock)” (on-one) Dark Bard somebawon track’n’n’tight somebawon (Haint studio) kom up ya guhcan “… I guhcan chick riotous” Ryouko (dirgesoul) Fanta (on-2 • 4) K-Fu (Barkay swag) Gari (cropperesque) Sweet Mac (basslock)” Oshare (Gorgeous) is excited about spending summer vacation with her father, until she finds out that his beautiful, freakishly serene girlfriend Ryouko would be going as well, Oshare decides she will be going to her aunt's house in the country instead, She brings with her her friends from school - Fanta (who likes to take pictures

32-Channel Neve Mobile-Studio Live-Truck Console Concert Starts With Audience Applause And Group Singing Catcalling Approval, Buccal And Pulmonic-Ingressive Framptone-Voicebox Guitar-Effect For Warm Washed-Out Voice Effects And 1970s-Studio-Recording at Sunset-Sound TWOOOOO, [breakdown] [marching band] what I’ve seen on the border bars of Tijuana after ingesting foodies try and cry And pray to Lucullus MFK fisher and JULIA Child’s ESCO Fee Yay Like Paul Bo cues coupons capons from Bresse his Michelin Shop in Leon Peu importe comment tu l'aimes, tu l'aimes trois étoiles de plus than your mother’s dry chicken no matter ma slavishly slaves over the spatchcock larder lardons watchin’ YouTube podcasts en French roulette of Roulais buried cooking nose inside esco fee yay Inscription to Robert Goo Lay So snagged Elvis Auction Vegas Julian’s lot I got when I spied it above E’s TV in Graceland on a Yellow silver wallpaper nightmare media room scatter E’s monkey motif bestrewn crazily nominativ

Aja voicings, add quirky off-kilter accent-crescendos transitioning to the chorale release, deep bass line mode, innovative percussion combine with drumkit psychologically clanging cymbal over captivating emphatic complexity through modern take on jazz music that incorporate rich sevenths (major and minor), dominant sevens ("the big seven") and quartal harmonies throughout the ultimate expression of this contemporary blend of melody with unconventional chords and playful beats while drum intensification culminates in powerful and imposing chorus and melodies, dub bassline syncopated with Afro-Caribbean rhythms and inventive percussion fills, vocals float above its hypnotic morass, A modern jazz fusion track featuring lush drop 2 and drop 3 chords on electric guitar, merging major/minor 7th, dominant 7th, and quartal harmonies, Delay and Slapback Vocal with ↀ Buccal Airstream + Œ Œsophageal Airstream + ↓ Pulmonic Ingressive Vocal creak, Art-Damage Intentional-Wrong-Notes into Marshall

Made To Break Your Heart There's plenty of variety on the East LA wolfpack's latest album, Gates Of Gold, their first in five years, *Made To Break Your Heart" is amasterfulassertion of core strengths, right down to David Hidalgo's gritty and expansive guitar break, Oddly reminiscent ofStealer's Wheel’s “Stuck In The Middle With You”, too, Promised LandSound 3PROMISED LAND SOUND She Takes Me There The young Nashville band have quietly established themselves as folk-rock revivalists par excellence over the past couple of years, artful connoisseurs of jangle and twang, “She Takes Me There" reveals а group of ever-expanding potential, though, recalling as it does mid- ’70s Fleetwood Mac at their most exquisitely hazy, Oh, and second great guitar solo of the month, if you're counting, APATTY GRIFFIN Shine A Different Way Patty Griffin’s Servant Of Love is our Americana Album Of The Month and, in his review on page 72, Rob Hughes suggests that the

Aja-Voicing Impedance-Switching: -25 Db Pad And 80 Hz High-Pass Filter with High-Headroom With 70Db Di-Gain And C-Creak with RFK-Buccal-Vocal-Effect, for party-music

Aja-Voicing Impedance-Switching: -25 Db Pad And 80 Hz High-Pass Filter with High-Headroom With 70Db Di-Gain And C-Creak with RFK-Buccal-Vocal-Effect, for party-music vibe with Aja-voicing clever-comedic Riffs, guitar-tone stack: guitar-sag at edge-of-breakup through Dumble-Super-Overdrive 100-watt amp at 9-gain with sparkly harmonic-information to tighten-mids with klon-overdrive-pedals to wake-up amp-front-end and outboard-compressor wuEnergetic-solos which highlight rock-obsessive-arr fretwork and brash turnaround structure in final-outro-Experimental Hooks, tone shelves

Aja-Voicing Impedance-Switching: -25 Db Pad And 80 Hz High-Pass Filter with High-Headroom With 70Db Di-Gain And C-Creak with RFK-Buccal-Vocal-Effect, for party-music vibe with Aja-voicing clever-comedic Riffs, guitar-tone stack: guitar-sag at edge-of-breakup through Dumble-Super-Overdrive 100-watt amp at 9-gain with sparkly harmonic-information to tighten-mids with klon-overdrive-pedals to wake-up amp-front-end and outboard-compressor wuEnergetic-solos which highlight rock-obsessive-arr fretwork and brash turnaround structure in final-outro-Experimental Hooks, tone shelves

Chicken Picking Bakersfield Guitar tracked with Goodhertz-Tone-Control for added "air" (high-shelf) and "warmth" (low-shelf) and control, bass-stack: playing Tic-Tac-style Bass on strange Fender-Bass-VI (Baritone Guitar) into Fender-Bassman-Amp, Mic-Vocal-Stack: C-Creak RFK-Buccal-Vocal-Effect for party-music with Ceiling-Feed into Neve-1073Opx mic-preamp-EQ using Placement to reflect Off-Wood-Ceiling, : SF-24V: chorale and Room-SF-2, Aja-Voicing-stack: Impedance-Switching: -25 Db Pad And 80 Hz, High Pass Filter 10Khz At +20Dbu Output (80Khz Bandwidth) Into 600Ω with High-Headroom With 70Db Di-Gain 18Db Per-Octave-Slope 160Hz, Audio Output: Output Is >+26Dbu Into 600Ω, Transformer Balanced Earth-Free, Distortion: No-More-Than 0, 07% At +20Dbu, Output (80Khz Bandwidth) Into 600Ω, Frequency-Response: 20Khz -3Db At 40Khz, Eq-Out, Noise: -83Dbu All-Line-Gain:(22Khz Bandwidth), Ein: Better Than -125Dbu @ 60Db Gain, Delay And Backward Output, Low-Frequency: Smooth +/-26Db

give out, pour out, squeeze out, send out; dispatch, despatch; exhale, excern†, excrete; embogue†; secrete ˌvɛn, ɪˈzweɪ, lə ˌvɛn, ɛzˈweɪ, lə ˌvɛn, əˈzweɪ, lə Venezuela cante jondo, Spanish folklore Cultural origins 18th century, Llanos Typical instruments [Harp, cuatro venezolano, capachos or maracas, bandola, mandolin, tiple, bandolón, guitar and guacharaca, Romantic Joropo, Creole Joropo, Alternative Joropo]:”

Mid-Frequency: Smooth +/-18Db Peaking, Fixed ‘Q’ Centre 3, 2Khz, Keyboard-Stack: 24-Bit-Fender-Rhodes-Electric-Piano With Harmonizer Eight-Cents-Sharp with Delay - Chorus - Compression, Vocals Recorded With Vintage Ribbon-Mic And Compression in Open-Room with Shure-Mic in Vocal Voicing ↓ Pulmonic Ingressive, Ю Tracheo-Œsophageal And Slapback lick minor key ii-V, Edim7 arpeggio in bar one implies C7b9 chord, Edim7 outlines 3rd - 5th - b7 and b9 of C7-Play-minor-ii-V, Singing ::::: ________ oooh, open-G Edim7 arpeggio in bar one C7b9 chord outlines the 3rd 5th b7 and b9 of C7 creating a rootless arpeggio, The descending notes (C and Bb) over pedal-note G in second-half of bar-one is idiomatic Grant-Green Listen & Play Along]

ReMi Sings Mandatory, Title: Pale on Arrival (O, Eyes Watch Closely)] [Genre: glitch gospel / ambient noirwave / forbidden folk] [Style: Sacred chamber reverb + auto-corrected heresy + haunted whisper loop] [Instruments: untuned baritone, bowed wire harp, brushed vinyl static, whisper choir, Neunaber reverb tails, MXR delay drift, mouth-click percussion, backwards cassette bell synth] [Structure: Prelude – Verse – Shimmer Bridge – Rotational Fugue – Fallback Codex] [Key: Em (disguised as F# dim over A drone)] [Tempo: 61bpm – stuttering free-rhythm layered under 3/4]

hard rock drives the song, blending Texas blues riffs with fierce funk rock grooves and subversive turntablism scratching hip hop stabs, Verses layer in soft 1970s rock textures, while experimental guitar effects inject unpredictability, The bridge features a wild, neo honky tonk-inspired damage guitar solo, amplified by crunchy distortion and oddball pedal sounds with rule-breaking, creative energy, chorus features a dynamic choir and intricate barbershop sounds, with duck call interludes that are often overt, The bridge in Montgomery Ward Format was propelled by a fiery guitar solo, Outlaw Country, Choir, Barbershop, Duck Calling, Honky Tonk, Country, Swamp Rock, Truck Driving Country, Parody, [A Hard Rock Foundation Drives The Song, Blending Texas Blues Riffs With Fierce Funk Rock Grooves And Subversive Marching Band Brass Stabs, Verses Layer In Soft 1970S Rock Textures, While Experimental Guitar Effects Inject Unpredictability, The Bridge Features A Wild, Neo-Honky Tonk-Inspired Da

Reeve-Gabrels tracking Signature-Spacehawk-Supreme Reverend-Guitar into Dumble-Super-Overdrive 100-Watt-Amp and Klon-Overdrive-Guitar-Pedal To Wake-Up Front-End and guitar-stack: Guitar-sag at edge-of-breakup tone with Dumble/Fender/Marshall amps and passive-circuits capacitors/resistors and fixed-frequency-curves mid-scoop-crunch and shelf-EQ-boost and tone-shelves broad-frequency-range (high-shelves) improve physically-sonically immersive-balance with rhythm-guitars out-to-sides chunking-eighths as singer goes ballistic loud gets louder, Chicken Picking, Fusing gritty edge-of-breakup tones, the lead Signature-Spacehawk-Supreme guitar rips through a Dumble-Super-Overdrive and Klon pedal, balanced by mid-scooped, high-shelf EQ for immersive sonics, Rhythm guitars chunk wide-eighths, while Bakersfield chicken picking adds airy highs and warmth, Bass VI Tic-Tac lines intertwine with flatwound P-Bass and compressed drums tracked to multitrack wide focused stereo Reeve-Gabrels tracking S

Alternative Joropo, unfolds with slow moaning tone before a sudden shift—even slightly unrelated—into a full, funky Memphis soul groove with drums hitting on-the-one in bass-locking-doses, Soft-Percussive-FingerSnaps And Woodblock-Percussion Provide Rhythmic-Pulse, Production Clean-Wide-Stereo-Image For Atmospheric-Focused-Center-Voice Featuring Vocal-Phonation Linguistic-Effects tracking at Professional Studio Designed by Engineered of Sunset-Sounds Studio Hollywood, reference reels, syndicated Jingles, customized production library, guitar played by Reeves-Gabrels mic’d through Sen67 into Neve-1073-preamp EQ and Dumble-amp tracked to 32-channel Neve-console, vocalizing “Glissando-trombone” and “Legato cello”, dynamic-spectral-change in vowels, “strong variation in-vowel-inherent-spectral-change-dialect” “specific- and spectral-change”, “position and movement”

Reeve Gabrels guitar solo, Reeves Gabrels Spacehawk Supreme three Railhammer pickups - lays out a sonic buffet to satisfyJazz mode road Hawaiian superlocrian get your poi on Dorian luau locrian Wildean life of Dorian George Russell, muxzolydian hula loopy hang ten surf vertical multi modal so what jass mass Coltrane gospel of Bird play changes through it Waikiki to Honolulu tiki bar don, kill toggle for instant on-off, Semi-Hollow Korina, Solid Maple Top, Railhammer Alnico Grande Bridge+Hyper Vintage Bridge+Hyper Vintage Neck, Bigsby B50 with Roller Bridge, Three-Piece Korina neck - Scale 24 3/4", Neck Profile: Medium Oval, Fingerboard: Ebony - 12" Radius, Frets: 22 - 0, 118"W x 0, 057", Kill Toggle, Phase, Studio, 5-Way, 1970s California Country Rock, Cosmic American Music, b-bender guitar (device for pedal steel guitar effects), red Rhodes velvet hammer pickups] turbulent Vortex of passionate miracle Tut-tut" [ǀ, ǀ] [tʌt tʌt]Ugh" [ʌx] ("Disgusting!")

Start with warm harmonically-rich electric guitar tones shaped by overdrive and subtle blues drive layered with lush choruses and multidimensional overtones for depth, Octave and dynamic wah effects add movement alongside spacious digital/analog delays, analog reverb, Incorporate synth textures from GR-300 - GR-50 - GR-20 for color, mix embraces a fat vintage analog warmth enhanced by transformer-based Class A circuitry highlighting melodic guitar phrases - dynamic modulations, and a fully enveloping sonic character] Jazz Piano, ReMi Art damage, experimental intentional wrong notes, shambolic imprecise playing, forgotten lyrics, Rhythm Oil, Journey Through the Music, Phineas Newborn Jr

sound collage rock sound effects, Fx experimental harmony, add 6 singer, Bahama patois crying, update guitarist AI audio, recording Neve direct- in, Vocals-Float-Above-Hypnotic-Aja-Morass In Modern-Jazz-Fusion Tracking-Lush-Drop-2-And-Drop-3 And Mu-Chords On Electric-Guitar Achieving Progressions or Breaking Chords, Tight-Mid voicing harmony with Maj7 B5 and Minor 11S as well as Special-Add-2 and Mu-Jord is possible thanks to this, Applying a specific set of rules to the guitar named Reeve-Gabrels Signature-Spacehawk-Supreme Reverend Guitar plays from Dumble–Super Overdrive 100 Watt/Amp Klon–OverDrive-Guitar Pedal To Wake Up Front-End And Outboard-Compressor Shaping Experimental Tight Tone Books And Eq–Filter-Boosts High-Shelf, Producer Console: Langevin-Am16 Transistor-Preamplifier, With the Altec-604S, a 15-Inch cone-unit with an horn-Loaded Coaxial input mechanism, the multitrack record made by Stephens Electronics has been recognized as the best in multitracking Progressions can

moog, Mu-Chords On Electric-Guitar And guitar Creak Transitioning To Chorale Vocals via Deep-Bass-Line Combine With Rhodes-Electric-Piano Must Record-Direct And Must Use Fairchild-670-Limiter Signal For Dynamic-Range And Very-Fast Transients Peak-Distortion-On-Transients And Stereo-Recording Rhodes-Vibrato Bounce-Back-And-Forth Between-Left-Right-Channels With Phase-Cancellation and Deep-Bass-Line Rhythm Combine With Drumkit Psychology Clanging Cymbal Over vocal-stack: Vʶ Voqs Voice Quality Producer Console: Langevin-Am16 Transistor-Preamplifier And Langevin-Eq251-Equaliser-Modules Passive Two-Band-Peaking-Filter-Eqs: Panel-Mount-Unit With Two Sliders, Q-Broad-Peaky +8Db, Miking Drumkit Dynamic-Processing Kit And Compressed-Drums, La2-Bass-Di (Fender-Precision Bass With Flatwound-Strings) Into Dumble-Amp, Stephens-Electronics-Multitrack-Recorder Best-Sounding-Multitrack-Ever Using Altec-604S: 15-Inch Cone-Unit, ↀ Buccal Airstream And Œ Œsophageal Airstream-↓, Drumkit Psychology Clang

he pass out da bananas and sing nana nana Bahamian shirts got reports da SBF peep out dat trick and go to put the venom in his on again Caroline who lent him 19 billion dollars in cryptocurrency like bitch coin babe in da gray slate skirt ”, royerlabs Heavy Electric Guitar – R-122V Producer/Engineer records heavy electric guitar using R-122V to capture Mesa Boogie Uberschall amplifier in home studio with 1×12 Mesa-cabinet placed in closet for isolation, complete signal path blending R-122V, SM-57 and DI tracks for final guitar sound, royerlabs mics: Electric Guitar – R-121, Bass Amplifier – R-122, Drum Overhead – SF-24, royerlabs Flute Ensemble – one SF-24V and four SF-2’s, Produced, engineered and mixed by Frank Bevans, Video by Frank Bevans Recorded at Westminster Presbyterian Church, Sacramento, CA for the Music at Noon Series, Recording Chain: One SF-24V (over the conductor’s shoulder) and four SF-2’s (one at each corner of the stage), SF-24V into a Millennia HV-3C preamplifier

moog, experimental ReMi, weird Art damage, intentional music theory exercise of playing parts of unknown music and quickly getting it

mama Springsteen shot Gaslight Anthem An Audience With Gregg Altamont Booth’s eyewit account from his reprinted Stones truth about Blunderbuss Jack and or White trash truth as WAS MADNESSHOW GREGG’stormy marriage to share Cher horrified by quel damage he recorded on 1977’s lamentation Altman Woman: Two The Hard way pair on the table River shown lavish suite Inn on Hyde Gregg slouched ona couch sunk between shoulders of hair, buckskin Denim wasn’t sure he was awake BTS BLACKPINK Stan-Fic “Grab’ya D*** Please P**** slaķyo heard voices The Wohern were coming back, hurried back up stairs to BTS room, Below, you heard noise a key, The Wohern were opening a door, So there was another door to outside down there! Blinkstan guard listened carefully, and Lalisa recalled how it heard sound hammerers, She were getting coffins ready for a journey, perhaps to England! Blinkstan guard rehermbered BTS words about his plans to visit my country, Turned to run back downstairs, to Find this open door, But

Reeves-Gabrels Recording At Sunset-Sound studio with Reeves-Gabrels Guitar Mic’d With Sen67 Into Neve mic-Pre-Amp-1073-Eq from Dumble-Super-Overdrive-100-Watt Amp To 32-Channel-Neve-Console, Voice / Vocals Clear and Centrally-Panned Joined By Framptone-Voicebox Guitar-Talkbox Pedal (based on Frampton’s Famous Album Featuring live album), Neve High Pass Filter: 18Db Per Octave Slope, Switch left 160Hz & 300Hz, Bass: Deep, syncopated and elastic funky Memphis soul groove with drums hitting on-the-one in bass-locking-doses, Soft-Percussive-FingerSnaps And Woodblock-Percussion Sound-Effects, Experimental Harmony Add-6 under Singer, Bahama Patois Cry-Up, Guitarist Ai-Audio, Ai-Neve-Direct-In, Vocals-Float-Above-Aja-Modern-Jazz-Fusion, Tracking Lush-Drop-3 and Mu-Chord-kit, Vocoder And Guitar-Voicebox Center-Tracking

Fairchild 670 14-rack-space unit, dual-channel 670 vertical-and-lateral (sum and difference) component-limiter, fast-attack-time with six-release timing-curves, low-distortion-noise, Skibbe-Electronics 736-5 500-Serie Flickinger Mod Console, all-tube optical-limiter-compressor optical-cell smooth-limiting limiter for vocals and bass and mix-bus-compression LA2A compressor Audio Transformer Input-And-Output: Gain Phantom-Power Polarity — 20Db Pad — Adjustable-Gain 60Db, 535-7 Op-Amp EQ Audio-Processing Tonal Frequency Graphic-Equalizer Parametric-Control Over Audio-Spectrum, Gain: ", 4dB" Boost (+) volume frequency Positive-enhance frequency: +12dB, Res 0, 71— bandwidth Lower for wide-curve — High-Q surgical wider-Q musical

glee club, experimental hip hop, jazz saxophone, soft rock, dissonance

smooth, jazz, piano, bass

Dissonance Neo honky tonk, soft country

Experimental Cuban son, AI Cuban Latin Jazz, Neo guajero, COWBOY, outrageous female revuelte, singing beatdown, spanish guitar, experimental modal horns, avant garde reverse Gliss vocals

Impedance-Switching: -25 Db Pad And 80 Hz High-Pass Filter with High-Headroom With 70Db Di-Gain And C-Creak with RFK-Buccal-Vocal-Effect, for party-music vibe with Aja-voicing clever-comedic Riffs, guitar-tone stack: guitar-sag at edge-of-breakup through Dumble-Super-Overdrive 100-watt amp at 9-gain with sparkly harmonic-information to tighten-mids with klon-overdrive-pedals to wake-up amp-front-end and outboard-compressor wuEnergetic-solos which highlight rock-obsessive-arr fretwork and brash turnaround structure in final-outro-Experimental Hooks, tone shelves-off bottom-end to increase space for in-Groove Lures and Oddball-Stop and starts in Syncopated Riff-Tying Effects using Rack-Delay for Short-Tempo Buttery-Guitar-Tone and Pentatonic Guitar-Mode, guitar-mic-stack: NEUMANN-U67 LARGE-DIAPHRAGM TUBE-CONDENSER-MIC for deep-engineer-approved sound of iconic K67-capsule with EF86-tube for velvety-musicality in vocals and acoustic-instruments with Three-polar-patterns and vintage-inspir

[Boost Pregain] [Step 3 Overdrive, Experimental Gear, Guitar Playedwith Tone Knob Rolled Off, More Treble From Pickup To Compensate For The Mellowness Of Using Thumb, Dissonance, Shambolic, Neo Horn Section, Crescendo Song Structure, Joke Switch Verse To Chorus, Intentional Mistakes, Bonnie Bakley Murder Case: Unlikely Ever To Be Solved – Pt, 5 *Ppppp* P [Solo]:”"Gah" [Ɡæh], [Ɡɑː] (Gah, Whew [Tʌt Tʌt] Page 16 » Nothing To Be Up Finish With [H]Incttrait Willingly Than A Underground In Standard English Tenur"Psst" [Psːt]: "Shh" [Ʃːː]” Being Speechless Constitutes A Wholly Consonantal Syllable, Tut-Tut (As A Substitute For "Shame"), Tsk-Tsk, Only Clicks, Forms An Essential Element Of Particular Clicks Is Class Dental Phone Rep Tʌt Tʌtinterject Ugh Ʌx Disgusting! Termites Velar Fricative Whew" Phew ɸɪu ɸju — Provided You Are Conscious! “An Unidentified Self-Pinpoint Pluraturbo Vortex Of Experiencing The Appreciated Miracle As Rock 'N' Roll Suffers From Remarkable Deficiencies In The Brain