3 Card (from secret private to whatever is next)

start 02:24 chording outro to end, approx 02:00 minutes, big ending, melodious interlude, DOGE, fifths spree, D’escalier, Deshabille, 🎵3rds, big ending, Distant parallel 5

start 02:24 chording outro to end, approx 02:00 minutes, big ending, melodious interlude, DOGE, fifths spree, D’escalier, Deshabille, 🎵3rds, big ending, Distant parallel 5

Jamaica toaster, shambolic roasters, roller coaster rides, dissonant frisson lamenting, guitar riffs, drumming Tim Tim, OCD, anxiety music, DRUMMER IS OCD PLAYING THREE NOTES TIC EVERY FEW BARS

Jamaica toaster, shambolic roasters, roller coaster rides, dissonant frisson lamenting, guitar riffs, drumming Tim Tim, OCD, anxiety music, DRUMMER IS OCD PLAYING THREE NOTES TIC EVERY FEW BARS

All guitar solos, Neo honky tonk experimental seductive drug consumptive Shambolic 1977 soft Rock, gospel mixed blues

hard rock, Don’t change or remove lyrics, texas blues, marching band, funk rock, experimental honor of anti-censorship, Neo honky tonk damage guitar solo, soft 1970s damage rock, weird guitar sound effects

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

hard rock, Don’t change or remove lyrics, texas blues, marching band, funk rock, experimental honor of anti-censorship, Neo honky tonk damage guitar solo, soft 1970s damage rock, weird guitar sound effects

sonic components inherent in these circuits with particular emphasis on the transformer architecture, particularly the 1073's transformer configuration and Class A arrangement, generate harmonious and warm sound, which can enhance the uniqueness of any instrument or source, classic, warm, and melodious sound infused with vocals and instruments, 1073 also benefits from an adaptable analog structure that adds character

hard rock, Don’t change or remove lyrics, texas blues, marching band, funk rock, experimental honor of anti-censorship, Neo honky tonk damage guitar solo, soft 1970s damage rock, weird guitar sound effects

catchy Art damage, experimental session player hard rock band, lead singer sings wrong intentionally to keep girls guessing, background vocals Lydian Mode, Neo honky tonk barbershop close harmony but on guitar arrangements, music theory audience

Soft rock, shambolic picking, reds pickups, banjo Buck, AI guitar, Cash experimental tones, barbershop harmony guitar

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 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

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 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

Steel drum, dub-style bassline, syncopated percussion, layered vocals, ambient feedback loops, subtle tape delay, Neo soft patois Dub, Afro-Caribbean rhythms, spoken word transit

Soft rock, shambolic picking, reds pickups, banjo Buck, AI guitar, Cash experimental tones, barbershop harmony guitar

mystique concrète, outsider, polar ambient, industrial, noise, glitch, minimalism, free improvisation, microkill, avant-garde, lo-fi, neoclassicism, sound art, psychedelic, electroacoustic, field

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

Opening with lush Sho-bud pedal steel, layered alongside red Rhodes velvet hammer pickups for a rich, expressive midrange, The Spacehawk Supreme adds spacey guitar textures, while trumpets/trombones, captured via seven R-121 Royers, provide vibrant brass, Digital Sony 3348-HR’s offer clean tracking, enhanced by vinyl crackle, analog delay, and backward output for depth, Guitar turnaround bridges sections, Low and mid EQ sculpt frequencies for warmth and clarity (smooth +/-26dB shelving at selectable 55-220Hz, and +/-18dB peaking at 3, 2kHz), with a high-pass filter for mix precision

s, fiery Reeve Gabrels guitar solo with signature Reeves Gabrels Spacehawk Supreme with kill switches for stuttering rhythm, shimmer, room sound Shure mic close 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 from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) into 600Ω