Umami, materializing from ether a newly viable humanly pleasurable soothing iteration of the converse equivalent opposite pole which demonstrates an audio mistake, formerly governed, prevented, disturbingly distracting session-stopping, reset, mandated by an engineer, a producer, and a musician or any listener with common sense and a normative reaction to shared human aversions of tolerance and reactions to its overburdening; whose cross-frequencies pushed black needled levels of optimally distinctive parts with varying methodologies of separation from isolation booths to baffles to distance and finally with Les Paul, the method which shaped as significant a milestone in the progression and exponential advancement of audio recording and its suddenly ingenious interdependence and seeming contradictory degree reliant toleration of frequency spikes and naturally occurring electrical scientifically explainable level lines uncrossable without unpleasant sonic disturbances as a result of various wavelength crashing, looping, and many other highly technical but natural laws of nature which account for the prohibitory unwilling orthodoxy to never experiment until accidentally employed with the advent of electrified amplification in the beginning of the 21st century, most famously utilized and forever recognized as with Tesla, Edison, Charlie Christian without which we would have progressed more slowly and with unparalleled profligate curiosity. (144) autonomy and artist based freedom to play parts both live, but now with the option of punching in or technically mining a pristine authentic live recording while avoiding fundamental agreed upon 'technical mistakes,' INCLUDING hot mics, high-frequency, deafening sudden db overhot yelps, roars, fuzzed woofing, trebly whistles and torture employed sickening, dizzying squeals, electrical variances of anti-musical whistles, unmusical, unintentional redlining volume or tone fluctuations, proximate over-amplification without invented sonic Umami controlled and distortion controlled feedback distortion controversial audio pyrotechnics purposeful mistakes and distilled popular Page, and the young session guitarist hit the licks which changed rock 'n roll and fueled a behemoth dirigible flight unstable, unwieldy, and undockable as the music whose flight it inspired he was a young man earning a living as a studio musician in London. (113) 1960s, recording guitar solos and textures for the crème de la crème of British Invasion, then the stars of psychedelic sound say works from 1965 Song above the album The Rolling Stones Now.
Le codeblue.
La transplantation cardiaque /.
Interestingly the onset of the condition was often marked by a change in genre preference, e g from pop to jazz. hippocampus ( ) showed increased regional grey matter in the left posterior hippocampus (a memory area) compared to the non-musicophilic group differences in the dorsolateral prefrontal cortices and anterior cingulate musicophilic posterior parietal cortex, medial orbitofrontal cortex, and frontal pole. neural signature underlie default network mediate direct thought. saliencesto social signals mental states areas associated with musical memory and emotional response. abnormal craving for music towards the “…more abstract hedonic valuation that music represents”. music cognitive reward seeks less from the world Why music high degree of emotional value for musicophilics relates to obsessive or ritualistic FTLD patients. neural reality to sudden onset music
Ay, kilig (shivers) to the bones !s rending the air. beautiful looms charmed crescende equivalent thousand-year-old human one-hundred year ferment, meaty note craving hard wired-unconscious insatiate appreciation like music curious beautiful, pleasure for me, pretty, good to reassess, previously unnoticed, unheard, unremarked, uncriticized, or benignly uncommented. relieve selfish enjoyment of physical, emotional, intellectual, or cognitive desire less-common vicarious experiential desire freely exprestion in bacon nor returns of gold pence wind their beings little to whom we speak, but----- hope all that one gourmand drinking fon pulls the slattern cunt ay beautiful evening. -- ardor --- Yes, it's in me, my dentures even screw up.
obsession and emotion of music musicophilics talk about © 2020 Music Psych – All rights reserved
© 2020 Music Psychology – All rights reserved
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‘Ay, kilig (shivers) to the bones!’ rending the air.
13.
oed.com 39521221#eid1203222070
Umami from ether
Jimmy Page's rippin' guitar solo textures
licks biggest hits Brits rippin’ gits chilled London sound
Page descends botanical blooming snake-charmed crescendo equivalent wide, fermented, meaty notes
an audio mistake, formerly governed, prevented, disturbingly distracting session-stopping, reset, mandated by an engineer, a producer, and a musician or any listener with common sense and a normative reaction to shared human aversions of tolerance and reactions to its overburdening; whose cross-frequencies pushed black needled levels of optimally distinctive parts with varying methodologies of separation from isolation booths to baffles to distance and finally with Les Paul, the method which shaped as significant a milestone in the progression and exponential advancement of audio recording and its suddenly ingenious interdependence and seeming contradictory degree reliant toleration of frequency spikes and naturally occurring electrical scientifically explainable level lines uncrossable without unpleasant sonic disturbances as a result of various wavelength crashing, looping, and many other highly technical but natural laws of nature which account for the prohibitory unwilling orthodoxy to never experiment until accidentally employed with the advent of electrified amplification in the beginning of the 21st century, most famously utilized and forever recognized as with Tesla, Edison, Charlie Christian without which we would have progressed more slowly and with unparalleled profligate curiosity. autonomy and artist based freedom to play parts both live, but now with the option of punching in or technically mining a pristine authentic live recording while avoiding fundamental agreed upon 'technical mistakes,' INCLUDING hot mics
high-frequency, deafening sudden db overhot yelps, roars, fuzzed woofing, trebly whistles and torture employed sickening, dizzying squeals, electrical variances of anti-musical whistles, unmusical, unintentional redlining volume or tone fluctuations, proximate over-amplification without invented sonic Umami controlled and distortion controlled feedback distortion controversial audio pyrotechnics purposeful mistakes and distilled popular Page, and the young session guitarist hit the licks which changed rock 'n roll and fueled a behemoth dirigible flight
unstable, unwieldy, and undockable as the music whose flight it inspired he was a young man earning a living as a studio musician in London. 1960s, recording guitar solos and textures
hopefully relieving the seemingly selfish but specifically desirable bacon mouth night of ardor, turn the breasts gold and little ear not speak
materializing from ether Before Led Zeppelin
Jimmy Page was a bona fide guitar god
rippin' guitar solos and chilling texture licks
botanically blooming snake-charmed crescendo, distinct fermented, meaty notes craving human, hard-wired unconscious desire consumed insatiate finally satisfy sense whose renewal changed the world and its appreciation by a wider public.
Producer: Andrew Long Oldham.
I like the music wars
curiously beautiful, a pleasure for me, pretty, good to reassess, previously unnoticed, unheard, unremarked, uncriticized, or benignly uncommented it.
Yes, it's in me, my dentures, even screw up.