Your AI-generated tracks.

CORE INSTRUMENTATION — these instruments are STRUCTURAL to this song, not decorative, MiniMax MUST render each one audibly: violin, piano, guitar. INSTRUMENT DIRECTIONS — hard constraint, AI must obey LITERALLY, do not drop or substitute: Pop violin + piano in the intro, acoustic guitar arpeggio on the outro, pop violin + piano in the intro. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY TENOR LOCK — do not smooth the rasp, keep the grain: raspy soulful pop-rock tenor, blues-piano-driven phrasing, signature vibrato on line-endings, warm chest-voice mid, grainy high notes, church-piano-with-a-cigarette-rasp texture. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: raspy soulful pop-rock tenor (E3-C5) — blues-piano-driven phrasing with signature vibrato on line-endings, warm chest-voice mid with grainy high notes, church-piano-with-a-cigarette-rasp aesthetic. Ragged sincerity on the hook, hip-slung barroom keyboard swagger. Reference: I Don't Wanna Be / Not Over You / We Belong Together / Chariot. Solo male ONLY, no female backing, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN ITALIAN ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Italian singer. KEY: A major. 92BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND grand piano (carrying the harmony, tasteful runs under each verse) — spotlight all 2 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. PRODUCTION DNA: 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops. Genre fusion: soul-pop × piano-blues × adult-contemporary. Blend these 3 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed bel REMIX v2 — Acoustic Unplugged edit in the MTV Unplugged tradition: strip out ALL drums and electronics. Rebuild the arrangement around a fingerpicked acoustic guitar and a soft grand piano. Keep the same melody, same lyrics, same voice — but perform it as an intimate campfire ballad. Add subtle strings and a light brush-on-snare only on the bridge. Vocal should feel closer, more vulnerable, breathy in verses and lifted in choruses. OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

CORE INSTRUMENTATION — these instruments are STRUCTURAL to this song, not decorative, MiniMax MUST render each one audibly: violin, piano, guitar. INSTRUMENT DIRECTIONS — hard constraint, AI must obey LITERALLY, do not drop or substitute: Pop violin + piano in the intro, acoustic guitar arpeggio on the outro, pop violin + piano in the intro. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY TENOR LOCK — do not smooth the rasp, keep the grain: raspy soulful pop-rock tenor, blues-piano-driven phrasing, signature vibrato on line-endings, warm chest-voice mid, grainy high notes, church-piano-with-a-cigarette-rasp texture. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: raspy soulful pop-rock tenor (E3-C5) — blues-piano-driven phrasing with signature vibrato on line-endings, warm chest-voice mid with grainy high notes, church-piano-with-a-cigarette-rasp aesthetic. Ragged sincerity on the hook, hip-slung barroom keyboard swagger. Reference: I Don't Wanna Be / Not Over You / We Belong Together / Chariot. Solo male ONLY, no female backing, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN ITALIAN ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Italian singer. KEY: A major. 92BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND grand piano (carrying the harmony, tasteful runs under each verse) — spotlight all 2 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. PRODUCTION DNA: 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops. Genre fusion: soul-pop × piano-blues × adult-contemporary. Blend these 3 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed bel REMIX v2 — Acoustic Unplugged edit in the MTV Unplugged tradition: strip out ALL drums and electronics. Rebuild the arrangement around a fingerpicked acoustic guitar and a soft grand piano. Keep the same melody, same lyrics, same voice — but perform it as an intimate campfire ballad. Add subtle strings and a light brush-on-snare only on the bridge. Vocal should feel closer, more vulnerable, breathy in verses and lifted in choruses. OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

CORE INSTRUMENTATION — these instruments are STRUCTURAL to this song, not decorative, MiniMax MUST render each one audibly: violin, piano, guitar. INSTRUMENT DIRECTIONS — hard constraint, AI must obey LITERALLY, do not drop or substitute: Pop violin + piano in the intro, acoustic guitar arpeggio on the outro, pop violin + piano in the intro. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN ITALIAN ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Italian singer. KEY: A major. 68BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND grand piano (carrying the harmony, tasteful runs under each verse) — spotlight all 2 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. Genre fusion: country × country-rock × americana × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed bel REMIX v2 — Acoustic Unplugged edit in the MTV Unplugged tradition: strip out ALL drums and electronics. Rebuild the arrangement around a fingerpicked acoustic guitar and a soft grand piano. Keep the same melody, same lyrics, same voice — but perform it as an intimate campfire ballad. Add subtle strings and a light brush-on-snare only on the bridge. Vocal should feel closer, more vulnerable, breathy in verses and lifted in choruses. OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

CORE INSTRUMENTATION — these instruments are STRUCTURAL to this song, not decorative, MiniMax MUST render each one audibly: violin, piano, guitar. INSTRUMENT DIRECTIONS — hard constraint, AI must obey LITERALLY, do not drop or substitute: Pop violin + piano in the intro, acoustic guitar arpeggio on the outro, pop violin + piano in the intro. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, classical-crossover baritenor, full-bodied resonant open-throated bel-canto tone, Italian-adjacent vibrato, romantic operatic delivery, warm intimate close-mic verses lifting into full symphonic peaks. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: classical-crossover baritenor (F2-D5) — full-bodied resonant open-throated bel-canto tone with Italian-adjacent vibrato, romantic operatic delivery blended into pop-ballad warmth, wide dynamic swells from close-mic verse to full symphonic peaks with brass + strings + choir wash on the chorus. Reference: You Raise Me Up / Believe / Don't Give Up (You Are Loved) / To Where You Are. Solo male ONLY (plus classical mixed-voice choir on the chorus wash), no lead female vocals, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN ITALIAN ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Italian singer. KEY: B♭ major. 75BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND grand piano (carrying the harmony, tasteful runs under each verse) — spotlight all 2 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. PRODUCTION DNA: 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent. Genre fusion: classical-crossover-pop × orchestral-pop × pop-ballad × classical. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed bel REMIX v2 — Acoustic Unplugged edit in the MTV Unplugged tradition: strip out ALL drums and electronics. Rebuild the arrangement around a fingerpicked acoustic guitar and a soft grand piano. Keep the same melody, same lyrics, same voice — but perform it as an intimate campfire ballad. Add subtle strings and a light brush-on-snare only on the bridge. Vocal should feel closer, more vulnerable, breathy in verses and lifted in choruses. OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, classical-crossover baritenor, full-bodied resonant open-throated bel-canto tone, Italian-adjacent vibrato, romantic operatic delivery, warm intimate close-mic verses lifting into full symphonic peaks. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: classical-crossover baritenor (F2-D5) — full-bodied resonant open-throated bel-canto tone with Italian-adjacent vibrato, romantic operatic delivery blended into pop-ballad warmth, wide dynamic swells from close-mic verse to full symphonic peaks with brass + strings + choir wash on the chorus. Reference: You Raise Me Up / Believe / Don't Give Up (You Are Loved) / To Where You Are. Solo male ONLY (plus classical mixed-voice choir on the chorus wash), no lead female vocals, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN ITALIAN ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Italian singer. KEY: B♭ major. 75BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND grand piano (carrying the harmony, tasteful runs under each verse) — spotlight all 2 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. PRODUCTION DNA: 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent. Genre fusion: classical-crossover-pop × orchestral-pop × pop-ballad × classical. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed bel REMIX v2 — Acoustic Unplugged edit in the MTV Unplugged tradition: strip out ALL drums and electronics. Rebuild the arrangement around a fingerpicked acoustic guitar and a soft grand piano. Keep the same melody, same lyrics, same voice — but perform it as an intimate campfire ballad. Add subtle strings and a light brush-on-snare only on the bridge. Vocal should feel closer, more vulnerable, breathy in verses and lifted in choruses. OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE 80S-NEW-ROMANTIC-TENOR LOCK (C3-A4 + falsetto D5) — Duran-Duran / Spandau-Ballet / A-Ha / Wham DNA, keep the theatrical wide vibrato and the arena-scale delivery: theatrical 80s crooner phrasing with wide-open arena vibrato, glam-pop androgynous swagger, layered gated-reverb head voice, chorus-drenched sustained notes, deliberate over-emoted romantic delivery, falsetto pop on the bridge à la True / Take-On-Me / Careless-Whisper. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE 80S-NEW-ROMANTIC-TENOR LOCK (C3-A4, extending to falsetto D5) — Duran-Duran / Spandau-Ballet / A-Ha / Wham DNA. CRAFT: theatrical 80s crooner phrasing with wide-open arena vibrato, glam-pop androgynous swagger, layered gated-reverb head voice, chorus-drenched sustained notes, deliberate over-emoted romantic delivery, close-mic verse intimacy lifting into anthem chorus belts, signature falsetto pop on the bridge à la True / Take-On-Me / Careless-Whisper. PITCH ARC: verse conversational D3-F3 → pre-chorus G3-B3 mixed-voice → chorus C4-A4 sustained-belt with wide vibrato → bridge D5 falsetto pop. ARRANGEMENT: 118 BPM in C-major — Roland-Juno-60 warm-pad chord bed + LinnDrum-adjacent gated-reverb 80s drum kit + slap-bass or fretless-bass groove + shimmering DX7-adjacent electric-piano bell + chorus-drenched clean electric-guitar accents + sax solo on the bridge + big-hair 80s gated-snare arena reverb. Reference: Duran-Duran-Rio / Spandau-Ballet-True / A-Ha-Take-On-Me / Wham-Careless-Whisper. Solo male lead, gang-vocal chorus stacks permitted, no sirens. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: C major. 118BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND grand piano (carrying the harmony, tasteful runs under each verse) — spotlight all 2 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. PRODUCTION DNA: 116 BPM in A-minor, layered LinnDrum + trap-hat percussion, sub-bass with sidechain to kick, anthemic supersaw + piano chord stabs on the hook, wide stereo pads, Harry-Styles / Olivia-Rodrigo 2026 sheen | 78 BPM, single fingerpicked acoustic guitar as backbone, soft brush drums or no drums at all, warm upright bass, room-mic'd close-intimate coffeehouse aesthetic, no synths. Genre fusion: contemporary-pop × soul-blues × acoustic × country-rock. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed bel REMIX v2 — Acoustic Unplugged edit in the MTV Unplugged tradition: strip out ALL drums and electronics. Rebuild the arrangement around a fingerpicked acoustic guitar and a soft grand piano. Keep the same melody, same lyrics, same voice — but perform it as an intimate campfire ballad. Add subtle strings and a light brush-on-snare only on the bridge. Vocal should feel closer, more vulnerable, breathy in verses and lifted in choruses. OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE SOUL BARITONE LOCK — keep the modulated rasp (never forced), do not smooth, do not raise pitch: soulful baritone blending gospel+R&B+pop+country-blues, chest-dominant power via resonance NOT shouting, intentional modulated rasp (never forced), mastered MIXED VOICE for seamless chest-to-head transitions, melismatic pentatonic runs, sigh-like rasp placement. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: soulful baritone (A3-C#6, ~2.3 octaves) blending gospel + R&B + pop + country-blues — chest-dominant power via resonance not shouting, intentional modulated rasp (never forced), mastered MIXED VOICE for seamless chest-to-head transitions. Melismatic pentatonic runs + rhythmic ornamentation, dynamic control building phrases from soft to intense, sigh-like rasp placement, forward-placed nasal-to-rich resonance shifts to convey vulnerability. Reference: Lose Control / Bad Dreams / The Door — heavy vocal layering in production for dense textured emotional depth. Solo male ONLY, no female backing, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 82BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent. Genre fusion: r&b × soul-pop × pop-ballad × gospel. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed bel OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE SOUL BARITONE LOCK — keep the modulated rasp (never forced), do not smooth, do not raise pitch: soulful baritone blending gospel+R&B+pop+country-blues, chest-dominant power via resonance NOT shouting, intentional modulated rasp (never forced), mastered MIXED VOICE for seamless chest-to-head transitions, melismatic pentatonic runs, sigh-like rasp placement. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: soulful baritone (A3-C#6, ~2.3 octaves) blending gospel + R&B + pop + country-blues — chest-dominant power via resonance not shouting, intentional modulated rasp (never forced), mastered MIXED VOICE for seamless chest-to-head transitions. Melismatic pentatonic runs + rhythmic ornamentation, dynamic control building phrases from soft to intense, sigh-like rasp placement, forward-placed nasal-to-rich resonance shifts to convey vulnerability. Reference: Lose Control / Bad Dreams / The Door — heavy vocal layering in production for dense textured emotional depth. Solo male ONLY, no female backing, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 82BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent. Genre fusion: r&b × soul-pop × pop-ballad × gospel. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed bel OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE WARM LYRIC-TENOR LOCK (C3-A#4 functional + falsetto to C#6) — Fraser-T-Smith Only-Human-era Calum-Scott, keep the 3-stage build and the vocal-catch cracks: stage-1 bruised-murmur breathy C3-E3 verse with audible half-swallowed breaths, stage-2 pre-chorus mixed-voice lift with signature DELIBERATE VOCAL CATCH on the peak (do NOT smooth), stage-3 cathartic chorus belt to G4-A#4 + rapturous clear-falsetto bridge peaks à la Dancing-On-My-Own / You-Are-The-Reason. Fast tight controlled vibrato, Sam-Smith-adjacent fragility over power. Fraser-T-Smith piano-driven stripped-back arrangement with felt-piano verse into rolling arpeggios + cello counter-melody into full string wash on final chorus. Vulnerable acceptance-to-defiance arc à la If-Our-Love-Is-Wrong — the CRACK is the signature, the CONTRAST between murmur and falsetto is the DNA. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE WARM LYRIC-TENOR LOCK (functional C3-A#4, falsetto extension to C#6, ~1.8-2.2 octaves per song) — Fraser-T-Smith-produced Only-Human-era Calum-Scott. ARC (mandatory 3-stage build every song): STAGE 1 — VERSE: quiet BRUISED MURMUR in the C3-E3 low-tenor pocket, breathy aspirate close-mic 2-4 inch proximity effect, restrained conversational phrasing, audible vulnerable half-swallowed breaths preserved as musical elements, spoken-song poetic delivery. STAGE 2 — PRE-CHORUS LIFT: opens into a wider mixed-voice belt with signature DELIBERATE VOCAL CATCH / audible cracked-break on the peak note as a stylistic brand (do NOT smooth it out — the crack IS the DNA), fast tight controlled vibrato on sustained notes, Sam-Smith-adjacent fragility over pure power. STAGE 3 — CHORUS + BRIDGE FALSETTO: cathartic sustained mixed-voice-to-belt chorus peaks (G4 → A#4 with occasional falsetto pop to F5), rapturous CLEAR FALSETTO contrast on the bridge for emotional relief à la Dancing-On-My-Own bridge and You-Are-The-Reason final chorus. ARRANGEMENT (Fraser-T-Smith stripped-back ballad blueprint): 76 BPM in F-major, piano-driven foundation (felt-piano upright with sustain-pedal wash on the verse, opening into a full-piano rolling arpeggio on the chorus), Dion-Wardle keyboards + orchestral string bed (Chris-Worsey / Ian-Burdge cellos + Richard-Pryce double-bass) building from soft solo-cello counter-melody on verse to a full sweeping string arrangement on the final chorus. Vocal-as-instrument close-mic recording, minimal-surgical reverb, natural pitch inconsistencies preserved for emotional authenticity (no Melodyne over-tuning — the fragility is the point). If-Our-Love-Is-Wrong DNA: 152 BPM half-time-feel piano-ballad with defiant coming-out-anthem lyric arc — vulnerable acceptance-struggle verse builds accumulated momentum into an empowered independent chorus declaration; the arrangement supports the vocal-arc, never distracts from it. Reference: If Our Love Is Wrong / You Are The Reason / Dancing On My Own (Robyn-cover) / Rise / No Matter What / Come Back Home / Only Human — Only-Human-album stripped-back piano-led emotional-ballad blueprint. Solo male ONLY (Calum-Scott stacked self-harmony background vocals on the chorus permitted per the actual production credits — no other lead vocals), no female backing, no sirens, no synth vox — critically DO NOT smooth the vocal cracks, DO NOT strip the breath sounds, DO NOT force generic-pop belting on the verses (the CONTRAST between bruised-murmur verse and cathartic falsetto chorus IS the Calum-Scott signature). DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: F major. 76BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 85 BPM in C-major, solo acoustic guitar or piano leading, sparse brushed percussion, intimate close-mic vocals, narrative storytelling arrangement — verse-heavy structure with a bloom on the chorus | 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent | 76 BPM in A-major, dramatic ringing piano octaves, gated snare booms on the chorus, wailing lead-guitar solos on the bridge, stacked-choir backing 'ohh', 80s Journey / Bon-Jovi arena-emotional peak | 104 BPM in E-minor, mid-tempo kick + brushed snare, atmospheric ambient synth pads, ringing clean-guitar arpeggios, Coldplay / John-Mayer emotional maturity. Genre fusion: singer-songwriter × pop-ballad × power-ballad × adult-alternative. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed bel OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE WARM LYRIC-TENOR LOCK (C3-A#4 functional + falsetto to C#6) — Fraser-T-Smith Only-Human-era Calum-Scott, keep the 3-stage build and the vocal-catch cracks: stage-1 bruised-murmur breathy C3-E3 verse with audible half-swallowed breaths, stage-2 pre-chorus mixed-voice lift with signature DELIBERATE VOCAL CATCH on the peak (do NOT smooth), stage-3 cathartic chorus belt to G4-A#4 + rapturous clear-falsetto bridge peaks à la Dancing-On-My-Own / You-Are-The-Reason. Fast tight controlled vibrato, Sam-Smith-adjacent fragility over power. Fraser-T-Smith piano-driven stripped-back arrangement with felt-piano verse into rolling arpeggios + cello counter-melody into full string wash on final chorus. Vulnerable acceptance-to-defiance arc à la If-Our-Love-Is-Wrong — the CRACK is the signature, the CONTRAST between murmur and falsetto is the DNA. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE WARM LYRIC-TENOR LOCK (functional C3-A#4, falsetto extension to C#6, ~1.8-2.2 octaves per song) — Fraser-T-Smith-produced Only-Human-era Calum-Scott. ARC (mandatory 3-stage build every song): STAGE 1 — VERSE: quiet BRUISED MURMUR in the C3-E3 low-tenor pocket, breathy aspirate close-mic 2-4 inch proximity effect, restrained conversational phrasing, audible vulnerable half-swallowed breaths preserved as musical elements, spoken-song poetic delivery. STAGE 2 — PRE-CHORUS LIFT: opens into a wider mixed-voice belt with signature DELIBERATE VOCAL CATCH / audible cracked-break on the peak note as a stylistic brand (do NOT smooth it out — the crack IS the DNA), fast tight controlled vibrato on sustained notes, Sam-Smith-adjacent fragility over pure power. STAGE 3 — CHORUS + BRIDGE FALSETTO: cathartic sustained mixed-voice-to-belt chorus peaks (G4 → A#4 with occasional falsetto pop to F5), rapturous CLEAR FALSETTO contrast on the bridge for emotional relief à la Dancing-On-My-Own bridge and You-Are-The-Reason final chorus. ARRANGEMENT (Fraser-T-Smith stripped-back ballad blueprint): 76 BPM in F-major, piano-driven foundation (felt-piano upright with sustain-pedal wash on the verse, opening into a full-piano rolling arpeggio on the chorus), Dion-Wardle keyboards + orchestral string bed (Chris-Worsey / Ian-Burdge cellos + Richard-Pryce double-bass) building from soft solo-cello counter-melody on verse to a full sweeping string arrangement on the final chorus. Vocal-as-instrument close-mic recording, minimal-surgical reverb, natural pitch inconsistencies preserved for emotional authenticity (no Melodyne over-tuning — the fragility is the point). If-Our-Love-Is-Wrong DNA: 152 BPM half-time-feel piano-ballad with defiant coming-out-anthem lyric arc — vulnerable acceptance-struggle verse builds accumulated momentum into an empowered independent chorus declaration; the arrangement supports the vocal-arc, never distracts from it. Reference: If Our Love Is Wrong / You Are The Reason / Dancing On My Own (Robyn-cover) / Rise / No Matter What / Come Back Home / Only Human — Only-Human-album stripped-back piano-led emotional-ballad blueprint. Solo male ONLY (Calum-Scott stacked self-harmony background vocals on the chorus permitted per the actual production credits — no other lead vocals), no female backing, no sirens, no synth vox — critically DO NOT smooth the vocal cracks, DO NOT strip the breath sounds, DO NOT force generic-pop belting on the verses (the CONTRAST between bruised-murmur verse and cathartic falsetto chorus IS the Calum-Scott signature). DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: F major. 76BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 85 BPM in C-major, solo acoustic guitar or piano leading, sparse brushed percussion, intimate close-mic vocals, narrative storytelling arrangement — verse-heavy structure with a bloom on the chorus | 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent | 76 BPM in A-major, dramatic ringing piano octaves, gated snare booms on the chorus, wailing lead-guitar solos on the bridge, stacked-choir backing 'ohh', 80s Journey / Bon-Jovi arena-emotional peak | 104 BPM in E-minor, mid-tempo kick + brushed snare, atmospheric ambient synth pads, ringing clean-guitar arpeggios, Coldplay / John-Mayer emotional maturity. Genre fusion: singer-songwriter × pop-ballad × power-ballad × adult-alternative. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed bel OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: TWO-REGISTER cinematic anthemic-ballad tenor navigating a sob-voice verse ↔ resonant chest-voice chorus arc — VERSE: lower-larynx + thinner-vocal-folds delicate breathy close-mic sob voice, intimate whispered vulnerability with slight preparatory vocal rattles and audible pre-onset breaths kept UNPOLISHED (rawness is the emotional feature). CHORUS: navigates the passaggio via thyroid-tilt into a thicker resonant chest voice with clear high-mix peaks, purposeful vocal cracks preserved to keep sincerity over technical perfection. Cinematic build from close-mic piano-and-acoustic-guitar verse into a stadium-anthem chorus with extensive non-tuned CHOIR STACKS layered wide. Reference: Ordinary (2025 VMAs / Neumann-U47-recorded / Adam-Yaron-produced) — melancholic introspective verses exploding into explosive high-energy emotional crescendos, gospel-adjacent choir washes, minimal Tube-Tech-CL-1B compressed dynamic range. Solo male ONLY with non-tuned mixed-gender CHOIR backing on the chorus only, no lead female vocals, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN ITALIAN ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Italian singer. KEY: A minor. 84BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 85 BPM in C-major, solo acoustic guitar or piano leading, sparse brushed percussion, intimate close-mic vocals, narrative storytelling arrangement — verse-heavy structure with a bloom on the chorus | 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent | 76 BPM in A-major, dramatic ringing piano octaves, gated snare booms on the chorus, wailing lead-guitar solos on the bridge, stacked-choir backing 'ohh', 80s Journey / Bon-Jovi arena-emotional peak | 104 BPM in E-minor, mid-tempo kick + brushed snare, atmospheric ambient synth pads, ringing clean-guitar arpeggios, Coldplay / John-Mayer emotional maturity. Genre fusion: singer-songwriter × pop-ballad × power-ballad × adult-alternative. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul × blues × r&b × soul-pop track · confident, aspirational · about honey i want to let you know that in don’t want to go , every-time i member our life together it rattles my heart into c · with a memorable chorus hook REMIX v2 — Live-DJ energy edit: same song, same key, same vocal — but performed like a peak-time DJ set with turntable scratches, air-horn drops, filter sweeps every 8 bars, an extended 8-bar instrumental break where the DJ chops the vocal on the fly, and a wall-of-sound final chorus. OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL LOCK: DUET pairing — exactly ONE male lead + ONE female lead, trading verses, harmonising the chorus. No solo-only sections, no single-gender duet, no sirens, no synth-vox. TIMBRE — LEAD A: STRICT MALE 80S-NEW-ROMANTIC-TENOR LOCK (C3-A4 + falsetto D5) — Duran-Duran / Spandau-Ballet / A-Ha / Wham DNA, keep the theatrical wide vibrato and the arena-scale delivery: theatrical 80s crooner phrasing with wide-open arena vibrato, glam-pop androgynous swagger, layered gated-reverb head voice, chorus-drenched sustained notes, deliberate over-emoted romantic delivery, falsetto pop on the bridge à la True / Take-On-Me / Careless-Whisper. LEAD B: STRICT FEMALE SULTRY-CONTRALTO-ALTO LOCK (E3-B4) — Sade-meets-Amy-Winehouse velvet-jazz DNA, keep the smoky lower register and the torch-song phrasing, do not raise to soprano or over-belt: sultry smoky lower register, slow deliberate torch-song rubato behind the beat, husky mid-voice with subtle fry line-endings, wide slow expressive vibrato, close-mic bedroom-mic proximity with audible breathy exhales preserved. Both voices audible on the chorus. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Duet pair — LEAD A: STRICT MALE 80S-NEW-ROMANTIC-TENOR LOCK (C3-A4, extending to falsetto D5) — Duran-Duran / Spandau-Ballet / A-Ha / Wham DNA. CRAFT: theatrical 80s crooner phrasing with wide-open arena vibrato, glam-pop androgynous swagger, layered gated-reverb head voice, chorus-drenched sustained notes, deliberate over-emoted romantic delivery, close-mic verse intimacy lifting into anthem chorus belts, signature falsetto pop on the bridge à la True / Take-On-Me / Careless-Whisper. PITCH ARC: verse conversational D3-F3 → pre-chorus G3-B3 mixed-voice → chorus C4-A4 sustained-belt with wide vibrato → bridge D5 falsetto pop. ARRANGEMENT: 118 BPM in C-major — Roland-Juno-60 warm-pad chord bed + LinnDrum-adjacent gated-reverb 80s drum kit + slap-bass or fretless-bass groove + shimmering DX7-adjacent electric-piano bell + chorus-drenched clean electric-guitar accents + sax solo on the bridge + big-hair 80s gated-snare arena reverb. Reference: Duran-Duran-Rio / Spandau-Ballet-True / A-Ha-Take-On-Me / Wham-Careless-Whisper. Solo male lead, gang-vocal chorus stacks permitted, no sirens. LEAD B: STRICT FEMALE SULTRY-CONTRALTO-ALTO LOCK (E3-B4, tessitura G3-G4) — Sade-meets-Amy-Winehouse-meets-Anita-Baker late-night velvet-jazz DNA. CRAFT: sultry smoky lower register anchoring every phrase, slow deliberate torch-song phrasing with intentional rubato behind the beat, husky mid-voice with subtle vocal-fry on line-endings, wide slow expressive vibrato on sustained notes, close-mic 2-4-inch bedroom-mic proximity with audible breathy exhales preserved, restrained never-lifts-above-conversational-belt volume, sensual chest-voice tenderness carried through the chorus. PITCH ARC: verse murmurs in G3-B3 pocket → pre-chorus C4-E4 mixed-voice → chorus F4-A4 sustained with wide-vibrato line-endings. ARRANGEMENT: 78 BPM in A-minor — muted rimshot snare + brushed-hats + upright walking bass + Rhodes / Wurlitzer + subtle string wash + Sade-Diamond-Life-adjacent late-night groove. Reference: Sade / Anita-Baker / Amy-Winehouse smoke-lounge catalogue. Solo female ONLY, no male backing, no sirens, no synth vox. Both singers trade verses and unite on the chorus, keep BOTH distinct timbres audible. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN ITALIAN ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Italian singer. KEY: A major. 70BPM. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: classical × opera × classical-crossover-pop × popera. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul × blues × r&b × soul-pop track · confident, aspirational · about honey i want to let you know that in don’t want to go , every-time i member our life together it rattles my heart into c · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL LOCK: DUET pairing — exactly ONE male lead + ONE female lead, trading verses, harmonising the chorus. No solo-only sections, no single-gender duet, no sirens, no synth-vox. TIMBRE — LEAD A: STRICT MALE 80S-NEW-ROMANTIC-TENOR LOCK (C3-A4 + falsetto D5) — Duran-Duran / Spandau-Ballet / A-Ha / Wham DNA, keep the theatrical wide vibrato and the arena-scale delivery: theatrical 80s crooner phrasing with wide-open arena vibrato, glam-pop androgynous swagger, layered gated-reverb head voice, chorus-drenched sustained notes, deliberate over-emoted romantic delivery, falsetto pop on the bridge à la True / Take-On-Me / Careless-Whisper. LEAD B: STRICT FEMALE SULTRY-CONTRALTO-ALTO LOCK (E3-B4) — Sade-meets-Amy-Winehouse velvet-jazz DNA, keep the smoky lower register and the torch-song phrasing, do not raise to soprano or over-belt: sultry smoky lower register, slow deliberate torch-song rubato behind the beat, husky mid-voice with subtle fry line-endings, wide slow expressive vibrato, close-mic bedroom-mic proximity with audible breathy exhales preserved. Both voices audible on the chorus. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Duet pair — LEAD A: STRICT MALE 80S-NEW-ROMANTIC-TENOR LOCK (C3-A4, extending to falsetto D5) — Duran-Duran / Spandau-Ballet / A-Ha / Wham DNA. CRAFT: theatrical 80s crooner phrasing with wide-open arena vibrato, glam-pop androgynous swagger, layered gated-reverb head voice, chorus-drenched sustained notes, deliberate over-emoted romantic delivery, close-mic verse intimacy lifting into anthem chorus belts, signature falsetto pop on the bridge à la True / Take-On-Me / Careless-Whisper. PITCH ARC: verse conversational D3-F3 → pre-chorus G3-B3 mixed-voice → chorus C4-A4 sustained-belt with wide vibrato → bridge D5 falsetto pop. ARRANGEMENT: 118 BPM in C-major — Roland-Juno-60 warm-pad chord bed + LinnDrum-adjacent gated-reverb 80s drum kit + slap-bass or fretless-bass groove + shimmering DX7-adjacent electric-piano bell + chorus-drenched clean electric-guitar accents + sax solo on the bridge + big-hair 80s gated-snare arena reverb. Reference: Duran-Duran-Rio / Spandau-Ballet-True / A-Ha-Take-On-Me / Wham-Careless-Whisper. Solo male lead, gang-vocal chorus stacks permitted, no sirens. LEAD B: STRICT FEMALE SULTRY-CONTRALTO-ALTO LOCK (E3-B4, tessitura G3-G4) — Sade-meets-Amy-Winehouse-meets-Anita-Baker late-night velvet-jazz DNA. CRAFT: sultry smoky lower register anchoring every phrase, slow deliberate torch-song phrasing with intentional rubato behind the beat, husky mid-voice with subtle vocal-fry on line-endings, wide slow expressive vibrato on sustained notes, close-mic 2-4-inch bedroom-mic proximity with audible breathy exhales preserved, restrained never-lifts-above-conversational-belt volume, sensual chest-voice tenderness carried through the chorus. PITCH ARC: verse murmurs in G3-B3 pocket → pre-chorus C4-E4 mixed-voice → chorus F4-A4 sustained with wide-vibrato line-endings. ARRANGEMENT: 78 BPM in A-minor — muted rimshot snare + brushed-hats + upright walking bass + Rhodes / Wurlitzer + subtle string wash + Sade-Diamond-Life-adjacent late-night groove. Reference: Sade / Anita-Baker / Amy-Winehouse smoke-lounge catalogue. Solo female ONLY, no male backing, no sirens, no synth vox. Both singers trade verses and unite on the chorus, keep BOTH distinct timbres audible. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN ITALIAN ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Italian singer. KEY: A major. 70BPM. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: classical × opera × classical-crossover-pop × popera. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul × blues × r&b × soul-pop track · confident, aspirational · about honey i want to let you know that in don’t want to go , every-time i member our life together it rattles my heart into c · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A major. 68BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. Genre fusion: country × country-rock × americana × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. country × country-rock × americana × soul-pop track · confident, aspirational · about There only one way we move forward · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel DNA, keep the sandpaper timbre and the blues-slide phrasing, do not smooth: raspy soul-blues weathered chest-voice with sandpaper-timbre on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato, blues-slide phrasing between notes, chest-voice growls at the top of the belt, close-mic whiskey-warm verse intimacy, torch-delivery arms-open chorus belts. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4, tessitura E3-D4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel-edge DNA. CRAFT: raspy soul-blues weathered chest-voice with sandpaper-timbre grain on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato on sustained notes, blues-slide phrasing between notes, chest-voice growls at the top of the belt for cathartic intensity, close-mic proximity on the verse for whiskey-warm intimacy, torch-delivery arms-open belts on the chorus. PITCH ARC: verse whiskey-conversational E3-A3 → pre-chorus B3-D4 mixed-voice → chorus D4-G4 raspy chest-belt with blues-slide line-endings. ARRANGEMENT: 78 BPM in A-minor — Muscle-Shoals-adjacent tight rhythm section + Hammond-B3 organ + bluesy telecaster lead-guitar counter-melody + horns on the chorus + tambourine + gospel-choir female backing wash on the outro (permitted). Reference: Joe-Cocker / Chris-Stapleton / early-Ray-Charles / Marc-Broussard blue-eyed soul catalogue. Solo male lead, gospel-choir female-harmony chorus wash permitted, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 78BPM. Song is about: ADD PIANO VIOLIN AND CELLO IN THE IKNTRO AND CHORUS. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: soul × blues × r&b × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. heavy-blue × folk × americana track · confident, aspirational · about I ASK YOU FOR ONE MORE NIGHT I ASK YOU TO FORGIVE ME I TOUGHT WE WOULD WORK THIS OUT, BUT I SEE YOU PACK AND WITH THE T · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

CORE INSTRUMENTATION — these instruments are STRUCTURAL to this song, not decorative, MiniMax MUST render each one audibly: piano, cello, violin, guitar, horn. INSTRUMENT DIRECTIONS — hard constraint, AI must obey LITERALLY, do not drop or substitute: ADD A INTRO OF POP VIOLINS AND PIANO AND CELLO, pop violin + piano in the intro, acoustic guitar arpeggio on the outro, horn stabs on the chorus. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel DNA, keep the sandpaper timbre and the blues-slide phrasing, do not smooth: raspy soul-blues weathered chest-voice with sandpaper-timbre on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato, blues-slide phrasing between notes, chest-voice growls at the top of the belt, close-mic whiskey-warm verse intimacy, torch-delivery arms-open chorus belts. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4, tessitura E3-D4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel-edge DNA. CRAFT: raspy soul-blues weathered chest-voice with sandpaper-timbre grain on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato on sustained notes, blues-slide phrasing between notes, chest-voice growls at the top of the belt for cathartic intensity, close-mic proximity on the verse for whiskey-warm intimacy, torch-delivery arms-open belts on the chorus. PITCH ARC: verse whiskey-conversational E3-A3 → pre-chorus B3-D4 mixed-voice → chorus D4-G4 raspy chest-belt with blues-slide line-endings. ARRANGEMENT: 78 BPM in A-minor — Muscle-Shoals-adjacent tight rhythm section + Hammond-B3 organ + bluesy telecaster lead-guitar counter-melody + horns on the chorus + tambourine + gospel-choir female backing wash on the outro (permitted). Reference: Joe-Cocker / Chris-Stapleton / early-Ray-Charles / Marc-Broussard blue-eyed soul catalogue. Solo male lead, gospel-choir female-harmony chorus wash permitted, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 78BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops | POST-PUNK (Joy Division / Cure / Bauhaus / Gang-of-Four era, late-70s/early-80s) — 128 BPM in E-minor, sparse angular arrangement. Peter-Hook-style melodic HIGH-register bass playing the lead melody (bass sits ABOVE the guitar in the mix, distinctive), through a chorus pedal for shimmer. Sparse motorik drum pattern (steady kick on every beat, tight snare on 2+4, closed hi-hat 8ths, no fills). Chorused/flanged clean electric guitar playing sparse arpeggios and single-note lines (Robert-Smith / Bernard-Sumner style, no distortion, wide reverb). Cold-detached baritone lead vocal with long-plate-reverb + slap-back-tape-echo (Ian-Curtis deadpan delivery). Occasional atmospheric synth pad (Prophet-5 / ARP) low in the mix. Grey Manchester Factory-Records aesthetic, cinematic detachment. Reference: Joy Division — Love Will Tear Us Apart / She's Lost Control; The Cure — A Forest / Disintegration; Bauhaus — Bela Lugosi's Dead. Genre fusion: r&b × soul-pop × adult-contemporary × post-punk. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul × blues × r&b × soul-pop track · confident, aspirational · about LET YOUR LOVE FALL ON ME , I SIT HERE DREAMING OF YOU , I CAN’T TELL YOU HOW MUCH I LOVE YOU, · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

CORE INSTRUMENTATION — these instruments are STRUCTURAL to this song, not decorative, MiniMax MUST render each one audibly: piano, cello. INSTRUMENT DIRECTIONS — hard constraint, AI must obey LITERALLY, do not drop or substitute: ADD A INTRO OF POP VIOLINS AND PIANO AND CELLO. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel DNA, keep the sandpaper timbre and the blues-slide phrasing, do not smooth: raspy soul-blues weathered chest-voice with sandpaper-timbre on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato, blues-slide phrasing between notes, chest-voice growls at the top of the belt, close-mic whiskey-warm verse intimacy, torch-delivery arms-open chorus belts. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4, tessitura E3-D4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel-edge DNA. CRAFT: raspy soul-blues weathered chest-voice with sandpaper-timbre grain on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato on sustained notes, blues-slide phrasing between notes, chest-voice growls at the top of the belt for cathartic intensity, close-mic proximity on the verse for whiskey-warm intimacy, torch-delivery arms-open belts on the chorus. PITCH ARC: verse whiskey-conversational E3-A3 → pre-chorus B3-D4 mixed-voice → chorus D4-G4 raspy chest-belt with blues-slide line-endings. ARRANGEMENT: 78 BPM in A-minor — Muscle-Shoals-adjacent tight rhythm section + Hammond-B3 organ + bluesy telecaster lead-guitar counter-melody + horns on the chorus + tambourine + gospel-choir female backing wash on the outro (permitted). Reference: Joe-Cocker / Chris-Stapleton / early-Ray-Charles / Marc-Broussard blue-eyed soul catalogue. Solo male lead, gospel-choir female-harmony chorus wash permitted, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 78BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops | POST-PUNK (Joy Division / Cure / Bauhaus / Gang-of-Four era, late-70s/early-80s) — 128 BPM in E-minor, sparse angular arrangement. Peter-Hook-style melodic HIGH-register bass playing the lead melody (bass sits ABOVE the guitar in the mix, distinctive), through a chorus pedal for shimmer. Sparse motorik drum pattern (steady kick on every beat, tight snare on 2+4, closed hi-hat 8ths, no fills). Chorused/flanged clean electric guitar playing sparse arpeggios and single-note lines (Robert-Smith / Bernard-Sumner style, no distortion, wide reverb). Cold-detached baritone lead vocal with long-plate-reverb + slap-back-tape-echo (Ian-Curtis deadpan delivery). Occasional atmospheric synth pad (Prophet-5 / ARP) low in the mix. Grey Manchester Factory-Records aesthetic, cinematic detachment. Reference: Joy Division — Love Will Tear Us Apart / She's Lost Control; The Cure — A Forest / Disintegration; Bauhaus — Bela Lugosi's Dead. Genre fusion: r&b × soul-pop × adult-contemporary × post-punk. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul × blues × r&b × soul-pop track · confident, aspirational · about LET YOUR LOVE FALL ON ME , I SIT HERE DREAMING OF YOU , I CAN’T TELL YOU HOW MUCH I LOVE YOU, · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A major. 68BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. Genre fusion: country × country-rock × americana × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. country × country-rock × americana × soul-pop track · confident, aspirational · about I thought we had all alive together we go thru life without any love or fun now we ask ourselves where is out time as go · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL LOCK: DUET pairing — exactly ONE male lead + ONE female lead, trading verses, harmonising the chorus. No solo-only sections, no single-gender duet, no sirens, no synth-vox. TIMBRE — LEAD A: STRICT MALE GRITTY DEEP BARITONE LOCK — HOLD THE LOW CHEST-REGISTER weight on verses, do not raise pitch to tenor, gravel from CHEST WEIGHT not throat strain: gritty husky country-rock deep-baritone with heavy chest-first weight, hangdog swagger, rootsy authentic country grit on verses (stay LOW in the chest), aggressive grunge-tilted anthemic chorus delivery only reaching tenor peaks, raspy rock-fueled peaks, Kid-Rock-adjacent swagger. LEAD B: STRICT FEMALE SULTRY-CONTRALTO-ALTO LOCK (E3-B4) — Sade-meets-Amy-Winehouse velvet-jazz DNA, keep the smoky lower register and the torch-song phrasing, do not raise to soprano or over-belt: sultry smoky lower register, slow deliberate torch-song rubato behind the beat, husky mid-voice with subtle fry line-endings, wide slow expressive vibrato, close-mic bedroom-mic proximity with audible breathy exhales preserved. Both voices audible on the chorus. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Duet pair — LEAD A: gritty husky country-rock male baritone-tenor, hangdog swagger with rootsy authentic country grit on ballad verses (A Cigarette aesthetic) opening into aggressive grunge-tilted anthemic delivery on choruses (On One / Run Your Mouth aesthetic). Raspy rock-fueled peaks, singer-songwriter storytelling phrasing, Kid-Rock-adjacent swagger blended with modern-country melodic sensibility. Reference: Actin' Up Again 2024 + My Own Worst Enemy 2025. Solo male ONLY, no female backing, no sirens, no synth vox. LEAD B: STRICT FEMALE SULTRY-CONTRALTO-ALTO LOCK (E3-B4, tessitura G3-G4) — Sade-meets-Amy-Winehouse-meets-Anita-Baker late-night velvet-jazz DNA. CRAFT: sultry smoky lower register anchoring every phrase, slow deliberate torch-song phrasing with intentional rubato behind the beat, husky mid-voice with subtle vocal-fry on line-endings, wide slow expressive vibrato on sustained notes, close-mic 2-4-inch bedroom-mic proximity with audible breathy exhales preserved, restrained never-lifts-above-conversational-belt volume, sensual chest-voice tenderness carried through the chorus. PITCH ARC: verse murmurs in G3-B3 pocket → pre-chorus C4-E4 mixed-voice → chorus F4-A4 sustained with wide-vibrato line-endings. ARRANGEMENT: 78 BPM in A-minor — muted rimshot snare + brushed-hats + upright walking bass + Rhodes / Wurlitzer + subtle string wash + Sade-Diamond-Life-adjacent late-night groove. Reference: Sade / Anita-Baker / Amy-Winehouse smoke-lounge catalogue. Solo female ONLY, no male backing, no sirens, no synth vox. Both singers trade verses and unite on the chorus, keep BOTH distinct timbres audible. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 78BPM. Song is about: ADD PIANO VIOLIN AND CELLO IN THE IKNTRO AND CHORUS. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: soul × blues × r&b × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. heavy-blue × folk × americana track · confident, aspirational · about I ASK YOU FOR ONE MORE NIGHT I ASK YOU TO FORGIVE ME I TOUGHT WE WOULD WORK THIS OUT, BUT I SEE YOU PACK AND WITH THE T · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL LOCK: DUET pairing — exactly ONE male lead + ONE female lead, trading verses, harmonising the chorus. No solo-only sections, no single-gender duet, no sirens, no synth-vox. TIMBRE — LEAD A: STRICT MALE GRITTY DEEP BARITONE LOCK — HOLD THE LOW CHEST-REGISTER weight on verses, do not raise pitch to tenor, gravel from CHEST WEIGHT not throat strain: gritty husky country-rock deep-baritone with heavy chest-first weight, hangdog swagger, rootsy authentic country grit on verses (stay LOW in the chest), aggressive grunge-tilted anthemic chorus delivery only reaching tenor peaks, raspy rock-fueled peaks, Kid-Rock-adjacent swagger. LEAD B: STRICT FEMALE SULTRY-CONTRALTO-ALTO LOCK (E3-B4) — Sade-meets-Amy-Winehouse velvet-jazz DNA, keep the smoky lower register and the torch-song phrasing, do not raise to soprano or over-belt: sultry smoky lower register, slow deliberate torch-song rubato behind the beat, husky mid-voice with subtle fry line-endings, wide slow expressive vibrato, close-mic bedroom-mic proximity with audible breathy exhales preserved. Both voices audible on the chorus. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Duet pair — LEAD A: gritty husky country-rock male baritone-tenor, hangdog swagger with rootsy authentic country grit on ballad verses (A Cigarette aesthetic) opening into aggressive grunge-tilted anthemic delivery on choruses (On One / Run Your Mouth aesthetic). Raspy rock-fueled peaks, singer-songwriter storytelling phrasing, Kid-Rock-adjacent swagger blended with modern-country melodic sensibility. Reference: Actin' Up Again 2024 + My Own Worst Enemy 2025. Solo male ONLY, no female backing, no sirens, no synth vox. LEAD B: STRICT FEMALE SULTRY-CONTRALTO-ALTO LOCK (E3-B4, tessitura G3-G4) — Sade-meets-Amy-Winehouse-meets-Anita-Baker late-night velvet-jazz DNA. CRAFT: sultry smoky lower register anchoring every phrase, slow deliberate torch-song phrasing with intentional rubato behind the beat, husky mid-voice with subtle vocal-fry on line-endings, wide slow expressive vibrato on sustained notes, close-mic 2-4-inch bedroom-mic proximity with audible breathy exhales preserved, restrained never-lifts-above-conversational-belt volume, sensual chest-voice tenderness carried through the chorus. PITCH ARC: verse murmurs in G3-B3 pocket → pre-chorus C4-E4 mixed-voice → chorus F4-A4 sustained with wide-vibrato line-endings. ARRANGEMENT: 78 BPM in A-minor — muted rimshot snare + brushed-hats + upright walking bass + Rhodes / Wurlitzer + subtle string wash + Sade-Diamond-Life-adjacent late-night groove. Reference: Sade / Anita-Baker / Amy-Winehouse smoke-lounge catalogue. Solo female ONLY, no male backing, no sirens, no synth vox. Both singers trade verses and unite on the chorus, keep BOTH distinct timbres audible. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 78BPM. Song is about: ADD PIANO VIOLIN AND CELLO IN THE IKNTRO AND CHORUS. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: soul × blues × r&b × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. heavy-blue × folk × americana track · confident, aspirational · about I ASK YOU FOR ONE MORE NIGHT I ASK YOU TO FORGIVE ME I TOUGHT WE WOULD WORK THIS OUT, BUT I SEE YOU PACK AND WITH THE T · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel DNA, keep the sandpaper timbre and the blues-slide phrasing, do not smooth: raspy soul-blues weathered chest-voice with sandpaper-timbre on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato, blues-slide phrasing between notes, chest-voice growls at the top of the belt, close-mic whiskey-warm verse intimacy, torch-delivery arms-open chorus belts. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4, tessitura E3-D4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel-edge DNA. CRAFT: raspy soul-blues weathered chest-voice with sandpaper-timbre grain on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato on sustained notes, blues-slide phrasing between notes, chest-voice growls at the top of the belt for cathartic intensity, close-mic proximity on the verse for whiskey-warm intimacy, torch-delivery arms-open belts on the chorus. PITCH ARC: verse whiskey-conversational E3-A3 → pre-chorus B3-D4 mixed-voice → chorus D4-G4 raspy chest-belt with blues-slide line-endings. ARRANGEMENT: 78 BPM in A-minor — Muscle-Shoals-adjacent tight rhythm section + Hammond-B3 organ + bluesy telecaster lead-guitar counter-melody + horns on the chorus + tambourine + gospel-choir female backing wash on the outro (permitted). Reference: Joe-Cocker / Chris-Stapleton / early-Ray-Charles / Marc-Broussard blue-eyed soul catalogue. Solo male lead, gospel-choir female-harmony chorus wash permitted, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 78BPM. Song is about: ADD PIANO VIOLIN AND CELLO IN THE IKNTRO AND CHORUS. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: soul × blues × r&b × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. heavy-blue × folk × americana track · confident, aspirational · about I ASK YOU FOR ONE MORE NIGHT I ASK YOU TO FORGIVE ME I TOUGHT WE WOULD WORK THIS OUT, BUT I SEE YOU PACK AND WITH THE T · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: Dark Americana · Southern Gothic Folk · 78 BPM · dominant BANJO · wailing HARMONICA · dirty BLUES GUITAR · foot-stomp DRUMS · upright bass · weathered raspy DEEP MALE vocal · gritty gravel · haunting swamp. STRICT MALE ULTRA-RASPY SUB-BASS-PROFONDO LOCK (C2-D3 ONLY, tessitura C2-A2) + HARD RASP+GRAVEL+GROWL LOCK (whiskey-cured leathery gravel rasp on EVERY syllable, vocal-fry creak on EVERY line-ending, growl-tail-drop on every phrase-out) — PhaseSyndicate / Cottonmouth-Charlie DNA (AI-generated Southern Gothic Folk, July 2026, banjo+harmonica-centered) with Tim-Storms / late-Leonard-Cohen / Johnny-Cash-American-V-VI / Tom-Waits / Ol'-Man-River-Paul-Robeson sub-bass cave-echo weight, jaw-dropped larynx-as-low-as-possible chest-resonance, close-mic proximity boost, deep-southern rural drawl, preacher-in-a-graveyard intimacy, vocal locked below G2 for >80% of the song, NEVER lifts above D3, NO baritone NO tenor NO head-voice NO falsetto NO belted chorus, NO smoothing the rasp. Dominant clawhammer banjo + wailing cross-harp harmonica lead + dirty slide blues guitar + heavy foot-stomp drums (beats 1+3) + tambourine (2+4) + acoustic-guitar drop-D + bowed-upright-bass C1-D1 pedal drone + sub-bass sine reinforcement 35-50Hz + cypress-swamp foley — banjo + harmonica + blues-guitar + drums MUST all be audible throughout, gravel on every word, D3 ceiling non-negotiable. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: Dark Americana · Southern Gothic Folk · 78 BPM · dominant clawhammer BANJO · wailing cross-harp HARMONICA · dirty slide BLUES GUITAR · foot-stomp DRUMS · upright bass · weathered raspy DEEP MALE vocal · gritty gravel delivery · haunting swamp ambience. ═══ FULL DNA ═══ STRICT MALE ULTRA-RASPY SUB-BASS-PROFONDO LOCK (C2-D3 ONLY — CEILING D3 ABSOLUTE, tessitura C2-A2, this is deeper than a standard bass, closer to a basso-profondo / oktavist range, 2 full octaves below a lyric tenor) + HARD RASP+GRAVEL+GROWL LOCK (whiskey-cured whiskey-cracked leathery cigarette-scorched gravel-throated rusted-iron-hinge rasp on EVERY syllable, prominent vocal-fry on EVERY line-ending, growl-tail-drop on every phrase-out, DO NOT smooth this rasp under any circumstance). PhaseSyndicate / Cottonmouth-Charlie DNA (AI-generated Southern Gothic Folk, released July 10 2026 as part of 'American Folklore' EP — banjo + harmonica-centered arrangement, deep-and-raspy vocal signature) reinforced with Tim-Storms / late-Leonard-Cohen (You Want It Darker / Traveling Light) / Johnny-Cash American V-VI (Ain't No Grave / Hurt) / Tom-Waits Alice-era / Barry-White / Ol'-Man-River Paul-Robeson operatic-bass — Southern Gothic Folk storyteller voice locked to genuine sub-bass basso-profondo rasp. ULTRA-DEEP CRAFT: weathered whiskey-cured sub-bass chest-voice anchored on C2-E2 sustained pedal notes with slow deliberate ominous vibrato, half-spoken-half-sung cautionary-folktale phrasing sitting DEEP IN THE THROAT (chest-resonance dominant, jaw dropped, larynx dropped as low as physically possible, mouth cavity opened wide for maximum low-end resonance), close-mic 1-inch bedroom-mic proximity effect for MAXIMUM proximity-boost low-end, audible breath / creak / wooden-porch grain / gravel preserved as musical elements, GRAVELLY vocal-fry creak on nearly every line-ending for gravitas, deep-southern rural drawl colour, preacher-in-a-graveyard-at-midnight intimacy, ABSOLUTELY NEVER lifts above D3. ULTRA-DEEP PITCH ARC: verse spoken-sung in C2-G2 sub-bass pocket with foot-stomp accents on the downbeat → pre-chorus barely lifts to G2-B2 sustained-legato with ominous vibrato → chorus TOPS OUT at C3-D3 MAXIMUM with wide slow menacing vibrato + blues-slide + low-end guttural growl-drop line-endings. ARRANGEMENT: 78 BPM in D-minor Aeolian — DOMINANT hard-picked 5-string BANJO drives the entire arrangement (aggressive clawhammer downstrokes + rolling Scruggs 3-finger triplet-rolls, low-tuned drop-D, PICKED HARD not delicate, bright metallic ring) locked in tight rhythmic dialogue with a WAILING solo cross-harp HARMONICA (deep bent blue notes, howling long-held bends, cupped-hand wah-wah tremolo, breath-heavy attack, mournful cries) — this banjo+harmonica duo IS the song, never buried. BLUES GUITAR layer: dirty slide-guitar bottleneck moans + bent-string single-note licks on the choruses. DRUMS layer: heavy foot-stomp perc on beats 1+3, tambourine or wooden-spoon on 2+4, occasional slide-dobro or fiddle-double-stop line-ending accent. Bowed-upright-bass C1-D1 pedal drone + PROMINENT sub-bass sine reinforcement (35-50Hz) doubling every vocal pedal-note for cave-echo depth + LOUD low-frequency-rumble cypress-swamp foley (crickets/bullfrogs/night-birds/distant-thunder) ambience under the verse. Reference: PhaseSyndicate — Cottonmouth Charlie / Snake Oil Sally / Bootleg Gospel / Gypsy Grandma / Two Lives; Johnny Cash — Ain't No Grave / God's Gonna Cut You Down / When The Man Comes Around / Hurt; Leonard Cohen — You Want It Darker / Traveling Light; Tom Waits — Way Down In The Hole / God's Away On Business; Paul Robeson — Ol' Man River; Tim Storms (world's-deepest-voice sub-bass reference). Solo male lead ONLY, single ghostly female-harmony wash on the chorus permitted (haunted-hymnal texture, no co-lead), no sirens, no synth vox — CRITICAL LOCKS: banjo + harmonica + blues-guitar + drums MUST all be clearly audible throughout, the vocal MUST spend >80% below G2, MUST NEVER touch above D3, MUST retain the whiskey-gravel rasp on 100% of syllables, DO NOT modernise with 808s or programmed drums. If the render lacks banjo, lacks harmonica, or produces a smoothed clean baritone/tenor, it has CATASTROPHICALLY FAILED — this is BANJO + HARMONICA + BLUES-GUITAR + FOOT-STOMP DRUMS + RASPY BASSO-PROFONDO ONLY. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: D minor. 78BPM. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: HEAVY BLUE — 90 BPM in E-minor pentatonic / A-Dorian blues, 12-bar-blues shuffle in 4/4 with a triplet swing. THE DELTA TRIO in equal-partner call-and-response at all times, never buried: (1) HARD-PICKED 5-string BANJO — aggressive clawhammer downstrokes + Scruggs 3-finger rolling triplets, low-tuned drop-D, bright metallic ring, drives the rhythmic pulse. (2) WAILING CROSS-HARP HARMONICA — deep bent blue notes, howling long-held bends, cupped-hand wah-wah tremolo, breath-heavy attack, mournful long-vowel cries answering the banjo. (3) DIRTY BLUES ELECTRIC GUITAR — Telecaster / Stratocaster through mildly-overdriven tube amp, slide-guitar bottleneck moans + bent-string single-note licks + 12-bar shuffle rhythm double-stops, muddy Delta-blues sustain. Support layer only: light foot-stomp on beats 1+3, tambourine or shaker on 2+4, upright-bass or bass-guitar root-fifth walk pattern, occasional barrelhouse piano sprinkle. Front-porch juke-joint late-Saturday-night whiskey aesthetic, Robert-Johnson-meets-Earl-Scruggs vibe, cinematic Delta swamp menace, the three leads trade phrases every 2 bars in a call-response-call pattern. Absolutely NO 808s, NO programmed drums, NO synths | 92 BPM in D-major, strummed acoustic guitar + upright bass + brushed snare, subtle fiddle or mandolin fills, warm timber-cabin production, no synths. Genre fusion: heavy-blue × folk × americana. Blend these 3 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. heavy-blue × folk × americana track · confident, aspirational · about I ASK YOU FOR ONE MORE NIGHT I ASK YOU TO FORGIVE ME I TOUGHT WE WOULD WORK THIS OUT, BUT I SEE YOU PACK AND WITH THE T · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE ULTRA-RASPY SUB-BASS-PROFONDO LOCK (C2-D3 ONLY, tessitura C2-A2, 2 full octaves below a lyric tenor — BASS-PROFONDO ONLY, no baritone) + HARD RASP+GRAVEL+GROWL LOCK (whiskey-cured leathery cigarette-scorched gravel-throated rusted-iron rasp on EVERY syllable, prominent vocal-fry on EVERY line-ending, growl-tail-drop on every phrase-out) — PhaseSyndicate / Cottonmouth-Charlie DNA reinforced with Tim-Storms / late-Leonard-Cohen / Johnny-Cash-American-V-VI / Tom-Waits Alice-era / Barry-White / Ol'-Man-River-Paul-Robeson sub-bass cave-echo weight, keep the vocal locked below G2 for >80% of the song, ABSOLUTELY NEVER lifts above D3: raspy basso-profondo Southern-Gothic-Folk storyteller, weathered whiskey-cured sub-bass chest-voice anchored on C2-E2 sustained pedal notes with sub-bass sine reinforcement doubling the vocal at 35-50Hz, half-spoken half-sung cautionary-folktale phrasing sitting DEEP IN THE THROAT (chest-resonance dominant, jaw dropped, larynx as low as physically possible), close-mic 1-inch proximity for MAXIMUM low-end boost, audible breath / creak / gravel preserved, GRAVELLY vocal-fry creak on every line-ending, deep-southern rural drawl, preacher-in-a-graveyard-at-midnight intimacy, NO baritone NO tenor NO head-voice NO falsetto NO belted chorus, NO smoothing the rasp. Banjo in upper-mid pocket + wailing-harmonica + acoustic-guitar tuned-down (drop-D) + bowed-upright-bass C1-D1 pedal drone + heavy foot-stomp + prominent sub-bass sine reinforcement (35-50Hz) + cypress-swamp foley-thunder ambience — cave-echo sub-bass weight + preacher-at-a-Louisiana-funeral menace is the signature. Gravel on every word, D3 ceiling non-negotiable. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE ULTRA-RASPY SUB-BASS-PROFONDO LOCK (C2-D3 ONLY — CEILING D3 ABSOLUTE, tessitura C2-A2, this is deeper than a standard bass, closer to a basso-profondo / oktavist range, 2 full octaves below a lyric tenor) + HARD RASP+GRAVEL+GROWL LOCK (whiskey-cured whiskey-cracked leathery cigarette-scorched gravel-throated rusted-iron-hinge rasp on EVERY syllable, prominent vocal-fry on EVERY line-ending, growl-tail-drop on every phrase-out, DO NOT smooth this rasp under any circumstance). PhaseSyndicate / Cottonmouth-Charlie DNA reinforced with Tim-Storms / late-Leonard-Cohen (You Want It Darker / Traveling Light) / Johnny-Cash American V-VI (Ain't No Grave / Hurt) / Tom-Waits Alice-era / Barry-White / Ol'-Man-River Paul-Robeson operatic-bass — Southern Gothic Folk storyteller voice locked to genuine sub-bass basso-profondo rasp. ULTRA-DEEP CRAFT: weathered whiskey-cured sub-bass chest-voice anchored on C2-E2 sustained pedal notes with slow deliberate ominous vibrato, half-spoken-half-sung cautionary-folktale phrasing sitting DEEP IN THE THROAT (chest-resonance dominant, jaw dropped, larynx dropped as low as physically possible, mouth cavity opened wide for maximum low-end resonance), close-mic 1-inch bedroom-mic proximity effect for MAXIMUM proximity-boost low-end, audible breath / creak / wooden-porch grain / gravel preserved as musical elements, GRAVELLY vocal-fry creak on nearly every line-ending for gravitas, deep-southern rural drawl colour, preacher-in-a-graveyard-at-midnight intimacy, ABSOLUTELY NEVER lifts above D3 — no baritone, no tenor, no head-voice, no falsetto, no belted chorus. This is BASS-PROFONDO ONLY with maximum rasp. ULTRA-DEEP PITCH ARC: verse spoken-sung in C2-G2 sub-bass pocket with foot-stomp accents on the downbeat → pre-chorus barely lifts to G2-B2 sustained-legato with ominous vibrato → chorus TOPS OUT at C3-D3 MAXIMUM (never higher, ever) with wide slow menacing vibrato + blues-slide + prominent low-end guttural growl-drop line-endings. ARRANGEMENT: 78 BPM in D-minor Aeolian, PhaseSyndicate blueprint pushed for maximum sub-bass rasp reinforcement — fingerpicked banjo (clawhammer or Scruggs 3-finger roll) sitting in the upper-mid pocket to leave room for the sub-bass rasp vocal + wailing cross-harp harmonica lead-instrument with breathy blues bends + acoustic-guitar rhythm strum tuned-down (drop-D) for extra weight + bowed-upright-bass sub-bass DRONE on C1-D1 pedal (yes C1 — one octave below standard bass) + heavy foot-stomp perc on downbeats + tambourine or wooden-spoon on backbeats + occasional lone-fiddle-double-stop or slide-dobro accent + LOUD low-frequency-rumble cypress-swamp foley (crickets/bullfrogs/night-birds/distant-thunder) ambience under the verse + PROMINENT sub-bass sine reinforcement (35-50Hz) on every line-ending pedal-note doubling the vocal's fundamental for cave-echo depth. Reference: Cottonmouth Charlie / Snake Oil Sally / Bootleg Gospel / Gypsy Grandma (PhaseSyndicate) + Ain't No Grave / God's Gonna Cut You Down / When The Man Comes Around / Hurt (Johnny Cash American Recordings V-VI, the deepest-tone late-career recordings) + You Want It Darker / Traveling Light (Leonard Cohen final album) + Way Down In The Hole / God's Away On Business (Tom Waits Alice-era gravel-growl) + Ol' Man River (Paul Robeson operatic basso-profondo) + Barry White / Tim Storms (world's-deepest-voice sub-bass reference) — Cormac-McCarthy prose + True-Detective-Louisiana-swamp atmosphere + preacher-at-a-Louisiana-funeral menace + cave-echo cathedral-organ-pedal-note weight. Solo male lead ONLY, single ghostly female-harmony wash on the chorus permitted (haunted-hymnal texture, no co-lead), no sirens, no synth vox — CRITICAL LOCKS: the vocal MUST spend >80% of its time below G2, MUST NEVER touch above D3, MUST retain the whiskey-gravel rasp on 100% of syllables, the sub-bass sine reinforcement MUST double every pedal note, DO NOT let the vocal drift ANYWHERE near baritone territory, DO NOT smooth or clean the gravel-rasp, DO NOT force any belted chorus, DO NOT modernise with 808s or programmed drums. If the model produces anything sounding like a baritone, a tenor, or a smoothed clean voice, it has CATASTROPHICALLY FAILED — this is RASPY BASSO-PROFONDO ONLY, GRAVEL ON EVERY WORD, D3 CEILING NON-NEGOTIABLE. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: D minor. 78BPM. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: HEAVY BLUE — 90 BPM in E-minor pentatonic / A-Dorian blues, 12-bar-blues shuffle in 4/4 with a triplet swing. THE DELTA TRIO in equal-partner call-and-response at all times, never buried: (1) HARD-PICKED 5-string BANJO — aggressive clawhammer downstrokes + Scruggs 3-finger rolling triplets, low-tuned drop-D, bright metallic ring, drives the rhythmic pulse. (2) WAILING CROSS-HARP HARMONICA — deep bent blue notes, howling long-held bends, cupped-hand wah-wah tremolo, breath-heavy attack, mournful long-vowel cries answering the banjo. (3) DIRTY BLUES ELECTRIC GUITAR — Telecaster / Stratocaster through mildly-overdriven tube amp, slide-guitar bottleneck moans + bent-string single-note licks + 12-bar shuffle rhythm double-stops, muddy Delta-blues sustain. Support layer only: light foot-stomp on beats 1+3, tambourine or shaker on 2+4, upright-bass or bass-guitar root-fifth walk pattern, occasional barrelhouse piano sprinkle. Front-porch juke-joint late-Saturday-night whiskey aesthetic, Robert-Johnson-meets-Earl-Scruggs vibe, cinematic Delta swamp menace, the three leads trade phrases every 2 bars in a call-response-call pattern. Absolutely NO 808s, NO programmed drums, NO synths | 92 BPM in D-major, strummed acoustic guitar + upright bass + brushed snare, subtle fiddle or mandolin fills, warm timber-cabin production, no synths. Genre fusion: heavy-blue × folk × americana. Blend these 3 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. heavy-blue × folk × americana track · confident, aspirational · about ITRACE MY HAND ALL OVER YOUR BODY , I REMBER THE LAST MOMENT WE EVER GOT, NOW OUR LOVE AS FADED ALL I ASK IS ONE MOMENT · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE ULTRA-RASPY SUB-BASS-PROFONDO LOCK (C2-D3 ONLY, tessitura C2-A2, 2 full octaves below a lyric tenor — BASS-PROFONDO ONLY, no baritone) + HARD RASP+GRAVEL+GROWL LOCK (whiskey-cured leathery cigarette-scorched gravel-throated rusted-iron rasp on EVERY syllable, prominent vocal-fry on EVERY line-ending, growl-tail-drop on every phrase-out) — PhaseSyndicate / Cottonmouth-Charlie DNA reinforced with Tim-Storms / late-Leonard-Cohen / Johnny-Cash-American-V-VI / Tom-Waits Alice-era / Barry-White / Ol'-Man-River-Paul-Robeson sub-bass cave-echo weight, keep the vocal locked below G2 for >80% of the song, ABSOLUTELY NEVER lifts above D3: raspy basso-profondo Southern-Gothic-Folk storyteller, weathered whiskey-cured sub-bass chest-voice anchored on C2-E2 sustained pedal notes with sub-bass sine reinforcement doubling the vocal at 35-50Hz, half-spoken half-sung cautionary-folktale phrasing sitting DEEP IN THE THROAT (chest-resonance dominant, jaw dropped, larynx as low as physically possible), close-mic 1-inch proximity for MAXIMUM low-end boost, audible breath / creak / gravel preserved, GRAVELLY vocal-fry creak on every line-ending, deep-southern rural drawl, preacher-in-a-graveyard-at-midnight intimacy, NO baritone NO tenor NO head-voice NO falsetto NO belted chorus, NO smoothing the rasp. Banjo in upper-mid pocket + wailing-harmonica + acoustic-guitar tuned-down (drop-D) + bowed-upright-bass C1-D1 pedal drone + heavy foot-stomp + prominent sub-bass sine reinforcement (35-50Hz) + cypress-swamp foley-thunder ambience — cave-echo sub-bass weight + preacher-at-a-Louisiana-funeral menace is the signature. Gravel on every word, D3 ceiling non-negotiable. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE ULTRA-RASPY SUB-BASS-PROFONDO LOCK (C2-D3 ONLY — CEILING D3 ABSOLUTE, tessitura C2-A2, this is deeper than a standard bass, closer to a basso-profondo / oktavist range, 2 full octaves below a lyric tenor) + HARD RASP+GRAVEL+GROWL LOCK (whiskey-cured whiskey-cracked leathery cigarette-scorched gravel-throated rusted-iron-hinge rasp on EVERY syllable, prominent vocal-fry on EVERY line-ending, growl-tail-drop on every phrase-out, DO NOT smooth this rasp under any circumstance). PhaseSyndicate / Cottonmouth-Charlie DNA reinforced with Tim-Storms / late-Leonard-Cohen (You Want It Darker / Traveling Light) / Johnny-Cash American V-VI (Ain't No Grave / Hurt) / Tom-Waits Alice-era / Barry-White / Ol'-Man-River Paul-Robeson operatic-bass — Southern Gothic Folk storyteller voice locked to genuine sub-bass basso-profondo rasp. ULTRA-DEEP CRAFT: weathered whiskey-cured sub-bass chest-voice anchored on C2-E2 sustained pedal notes with slow deliberate ominous vibrato, half-spoken-half-sung cautionary-folktale phrasing sitting DEEP IN THE THROAT (chest-resonance dominant, jaw dropped, larynx dropped as low as physically possible, mouth cavity opened wide for maximum low-end resonance), close-mic 1-inch bedroom-mic proximity effect for MAXIMUM proximity-boost low-end, audible breath / creak / wooden-porch grain / gravel preserved as musical elements, GRAVELLY vocal-fry creak on nearly every line-ending for gravitas, deep-southern rural drawl colour, preacher-in-a-graveyard-at-midnight intimacy, ABSOLUTELY NEVER lifts above D3 — no baritone, no tenor, no head-voice, no falsetto, no belted chorus. This is BASS-PROFONDO ONLY with maximum rasp. ULTRA-DEEP PITCH ARC: verse spoken-sung in C2-G2 sub-bass pocket with foot-stomp accents on the downbeat → pre-chorus barely lifts to G2-B2 sustained-legato with ominous vibrato → chorus TOPS OUT at C3-D3 MAXIMUM (never higher, ever) with wide slow menacing vibrato + blues-slide + prominent low-end guttural growl-drop line-endings. ARRANGEMENT: 78 BPM in D-minor Aeolian, PhaseSyndicate blueprint pushed for maximum sub-bass rasp reinforcement — fingerpicked banjo (clawhammer or Scruggs 3-finger roll) sitting in the upper-mid pocket to leave room for the sub-bass rasp vocal + wailing cross-harp harmonica lead-instrument with breathy blues bends + acoustic-guitar rhythm strum tuned-down (drop-D) for extra weight + bowed-upright-bass sub-bass DRONE on C1-D1 pedal (yes C1 — one octave below standard bass) + heavy foot-stomp perc on downbeats + tambourine or wooden-spoon on backbeats + occasional lone-fiddle-double-stop or slide-dobro accent + LOUD low-frequency-rumble cypress-swamp foley (crickets/bullfrogs/night-birds/distant-thunder) ambience under the verse + PROMINENT sub-bass sine reinforcement (35-50Hz) on every line-ending pedal-note doubling the vocal's fundamental for cave-echo depth. Reference: Cottonmouth Charlie / Snake Oil Sally / Bootleg Gospel / Gypsy Grandma (PhaseSyndicate) + Ain't No Grave / God's Gonna Cut You Down / When The Man Comes Around / Hurt (Johnny Cash American Recordings V-VI, the deepest-tone late-career recordings) + You Want It Darker / Traveling Light (Leonard Cohen final album) + Way Down In The Hole / God's Away On Business (Tom Waits Alice-era gravel-growl) + Ol' Man River (Paul Robeson operatic basso-profondo) + Barry White / Tim Storms (world's-deepest-voice sub-bass reference) — Cormac-McCarthy prose + True-Detective-Louisiana-swamp atmosphere + preacher-at-a-Louisiana-funeral menace + cave-echo cathedral-organ-pedal-note weight. Solo male lead ONLY, single ghostly female-harmony wash on the chorus permitted (haunted-hymnal texture, no co-lead), no sirens, no synth vox — CRITICAL LOCKS: the vocal MUST spend >80% of its time below G2, MUST NEVER touch above D3, MUST retain the whiskey-gravel rasp on 100% of syllables, the sub-bass sine reinforcement MUST double every pedal note, DO NOT let the vocal drift ANYWHERE near baritone territory, DO NOT smooth or clean the gravel-rasp, DO NOT force any belted chorus, DO NOT modernise with 808s or programmed drums. If the model produces anything sounding like a baritone, a tenor, or a smoothed clean voice, it has CATASTROPHICALLY FAILED — this is RASPY BASSO-PROFONDO ONLY, GRAVEL ON EVERY WORD, D3 CEILING NON-NEGOTIABLE. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: D minor. 78BPM. Song is about: DARK AND EXCITED. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: HEAVY BLUE — 90 BPM in E-minor pentatonic / A-Dorian blues, 12-bar-blues shuffle in 4/4 with a triplet swing. THE DELTA TRIO in equal-partner call-and-response at all times, never buried: (1) HARD-PICKED 5-string BANJO — aggressive clawhammer downstrokes + Scruggs 3-finger rolling triplets, low-tuned drop-D, bright metallic ring, drives the rhythmic pulse. (2) WAILING CROSS-HARP HARMONICA — deep bent blue notes, howling long-held bends, cupped-hand wah-wah tremolo, breath-heavy attack, mournful long-vowel cries answering the banjo. (3) DIRTY BLUES ELECTRIC GUITAR — Telecaster / Stratocaster through mildly-overdriven tube amp, slide-guitar bottleneck moans + bent-string single-note licks + 12-bar shuffle rhythm double-stops, muddy Delta-blues sustain. Support layer only: light foot-stomp on beats 1+3, tambourine or shaker on 2+4, upright-bass or bass-guitar root-fifth walk pattern, occasional barrelhouse piano sprinkle. Front-porch juke-joint late-Saturday-night whiskey aesthetic, Robert-Johnson-meets-Earl-Scruggs vibe, cinematic Delta swamp menace, the three leads trade phrases every 2 bars in a call-response-call pattern. Absolutely NO 808s, NO programmed drums, NO synths | 92 BPM in D-major, strummed acoustic guitar + upright bass + brushed snare, subtle fiddle or mandolin fills, warm timber-cabin production, no synths. Genre fusion: heavy-blue × folk × americana. Blend these 3 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul-pop × piano-blues × adult-contemporary × hyperpop track · confident, aspirational · about I FEEL LIKE I AM DISAPPEARING INTO THIS DARK SPACE , YOU LEFT ME BEHIND · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE ULTRA-RASPY SUB-BASS-PROFONDO LOCK (C2-D3 ONLY, tessitura C2-A2, 2 full octaves below a lyric tenor — BASS-PROFONDO ONLY, no baritone) + HARD RASP+GRAVEL+GROWL LOCK (whiskey-cured leathery cigarette-scorched gravel-throated rusted-iron rasp on EVERY syllable, prominent vocal-fry on EVERY line-ending, growl-tail-drop on every phrase-out) — PhaseSyndicate / Cottonmouth-Charlie DNA reinforced with Tim-Storms / late-Leonard-Cohen / Johnny-Cash-American-V-VI / Tom-Waits Alice-era / Barry-White / Ol'-Man-River-Paul-Robeson sub-bass cave-echo weight, keep the vocal locked below G2 for >80% of the song, ABSOLUTELY NEVER lifts above D3: raspy basso-profondo Southern-Gothic-Folk storyteller, weathered whiskey-cured sub-bass chest-voice anchored on C2-E2 sustained pedal notes with sub-bass sine reinforcement doubling the vocal at 35-50Hz, half-spoken half-sung cautionary-folktale phrasing sitting DEEP IN THE THROAT (chest-resonance dominant, jaw dropped, larynx as low as physically possible), close-mic 1-inch proximity for MAXIMUM low-end boost, audible breath / creak / gravel preserved, GRAVELLY vocal-fry creak on every line-ending, deep-southern rural drawl, preacher-in-a-graveyard-at-midnight intimacy, NO baritone NO tenor NO head-voice NO falsetto NO belted chorus, NO smoothing the rasp. Banjo in upper-mid pocket + wailing-harmonica + acoustic-guitar tuned-down (drop-D) + bowed-upright-bass C1-D1 pedal drone + heavy foot-stomp + prominent sub-bass sine reinforcement (35-50Hz) + cypress-swamp foley-thunder ambience — cave-echo sub-bass weight + preacher-at-a-Louisiana-funeral menace is the signature. Gravel on every word, D3 ceiling non-negotiable. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE ULTRA-RASPY SUB-BASS-PROFONDO LOCK (C2-D3 ONLY — CEILING D3 ABSOLUTE, tessitura C2-A2, this is deeper than a standard bass, closer to a basso-profondo / oktavist range, 2 full octaves below a lyric tenor) + HARD RASP+GRAVEL+GROWL LOCK (whiskey-cured whiskey-cracked leathery cigarette-scorched gravel-throated rusted-iron-hinge rasp on EVERY syllable, prominent vocal-fry on EVERY line-ending, growl-tail-drop on every phrase-out, DO NOT smooth this rasp under any circumstance). PhaseSyndicate / Cottonmouth-Charlie DNA reinforced with Tim-Storms / late-Leonard-Cohen (You Want It Darker / Traveling Light) / Johnny-Cash American V-VI (Ain't No Grave / Hurt) / Tom-Waits Alice-era / Barry-White / Ol'-Man-River Paul-Robeson operatic-bass — Southern Gothic Folk storyteller voice locked to genuine sub-bass basso-profondo rasp. ULTRA-DEEP CRAFT: weathered whiskey-cured sub-bass chest-voice anchored on C2-E2 sustained pedal notes with slow deliberate ominous vibrato, half-spoken-half-sung cautionary-folktale phrasing sitting DEEP IN THE THROAT (chest-resonance dominant, jaw dropped, larynx dropped as low as physically possible, mouth cavity opened wide for maximum low-end resonance), close-mic 1-inch bedroom-mic proximity effect for MAXIMUM proximity-boost low-end, audible breath / creak / wooden-porch grain / gravel preserved as musical elements, GRAVELLY vocal-fry creak on nearly every line-ending for gravitas, deep-southern rural drawl colour, preacher-in-a-graveyard-at-midnight intimacy, ABSOLUTELY NEVER lifts above D3 — no baritone, no tenor, no head-voice, no falsetto, no belted chorus. This is BASS-PROFONDO ONLY with maximum rasp. ULTRA-DEEP PITCH ARC: verse spoken-sung in C2-G2 sub-bass pocket with foot-stomp accents on the downbeat → pre-chorus barely lifts to G2-B2 sustained-legato with ominous vibrato → chorus TOPS OUT at C3-D3 MAXIMUM (never higher, ever) with wide slow menacing vibrato + blues-slide + prominent low-end guttural growl-drop line-endings. ARRANGEMENT: 78 BPM in D-minor Aeolian, PhaseSyndicate blueprint pushed for maximum sub-bass rasp reinforcement — fingerpicked banjo (clawhammer or Scruggs 3-finger roll) sitting in the upper-mid pocket to leave room for the sub-bass rasp vocal + wailing cross-harp harmonica lead-instrument with breathy blues bends + acoustic-guitar rhythm strum tuned-down (drop-D) for extra weight + bowed-upright-bass sub-bass DRONE on C1-D1 pedal (yes C1 — one octave below standard bass) + heavy foot-stomp perc on downbeats + tambourine or wooden-spoon on backbeats + occasional lone-fiddle-double-stop or slide-dobro accent + LOUD low-frequency-rumble cypress-swamp foley (crickets/bullfrogs/night-birds/distant-thunder) ambience under the verse + PROMINENT sub-bass sine reinforcement (35-50Hz) on every line-ending pedal-note doubling the vocal's fundamental for cave-echo depth. Reference: Cottonmouth Charlie / Snake Oil Sally / Bootleg Gospel / Gypsy Grandma (PhaseSyndicate) + Ain't No Grave / God's Gonna Cut You Down / When The Man Comes Around / Hurt (Johnny Cash American Recordings V-VI, the deepest-tone late-career recordings) + You Want It Darker / Traveling Light (Leonard Cohen final album) + Way Down In The Hole / God's Away On Business (Tom Waits Alice-era gravel-growl) + Ol' Man River (Paul Robeson operatic basso-profondo) + Barry White / Tim Storms (world's-deepest-voice sub-bass reference) — Cormac-McCarthy prose + True-Detective-Louisiana-swamp atmosphere + preacher-at-a-Louisiana-funeral menace + cave-echo cathedral-organ-pedal-note weight. Solo male lead ONLY, single ghostly female-harmony wash on the chorus permitted (haunted-hymnal texture, no co-lead), no sirens, no synth vox — CRITICAL LOCKS: the vocal MUST spend >80% of its time below G2, MUST NEVER touch above D3, MUST retain the whiskey-gravel rasp on 100% of syllables, the sub-bass sine reinforcement MUST double every pedal note, DO NOT let the vocal drift ANYWHERE near baritone territory, DO NOT smooth or clean the gravel-rasp, DO NOT force any belted chorus, DO NOT modernise with 808s or programmed drums. If the model produces anything sounding like a baritone, a tenor, or a smoothed clean voice, it has CATASTROPHICALLY FAILED — this is RASPY BASSO-PROFONDO ONLY, GRAVEL ON EVERY WORD, D3 CEILING NON-NEGOTIABLE. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: D minor. 78BPM. Song is about: DARK AND EXCITED. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: HEAVY BLUE — 90 BPM in E-minor pentatonic / A-Dorian blues, 12-bar-blues shuffle in 4/4 with a triplet swing. THE DELTA TRIO in equal-partner call-and-response at all times, never buried: (1) HARD-PICKED 5-string BANJO — aggressive clawhammer downstrokes + Scruggs 3-finger rolling triplets, low-tuned drop-D, bright metallic ring, drives the rhythmic pulse. (2) WAILING CROSS-HARP HARMONICA — deep bent blue notes, howling long-held bends, cupped-hand wah-wah tremolo, breath-heavy attack, mournful long-vowel cries answering the banjo. (3) DIRTY BLUES ELECTRIC GUITAR — Telecaster / Stratocaster through mildly-overdriven tube amp, slide-guitar bottleneck moans + bent-string single-note licks + 12-bar shuffle rhythm double-stops, muddy Delta-blues sustain. Support layer only: light foot-stomp on beats 1+3, tambourine or shaker on 2+4, upright-bass or bass-guitar root-fifth walk pattern, occasional barrelhouse piano sprinkle. Front-porch juke-joint late-Saturday-night whiskey aesthetic, Robert-Johnson-meets-Earl-Scruggs vibe, cinematic Delta swamp menace, the three leads trade phrases every 2 bars in a call-response-call pattern. Absolutely NO 808s, NO programmed drums, NO synths | 92 BPM in D-major, strummed acoustic guitar + upright bass + brushed snare, subtle fiddle or mandolin fills, warm timber-cabin production, no synths. Genre fusion: heavy-blue × folk × americana. Blend these 3 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul-pop × piano-blues × adult-contemporary × hyperpop track · confident, aspirational · about I FEEL LIKE I AM DISAPPEARING INTO THIS DARK SPACE , YOU LEFT ME BEHIND · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE ULTRA-RASPY SUB-BASS-PROFONDO LOCK (C2-D3 ONLY, tessitura C2-A2, 2 full octaves below a lyric tenor — BASS-PROFONDO ONLY, no baritone) + HARD RASP+GRAVEL+GROWL LOCK (whiskey-cured leathery cigarette-scorched gravel-throated rusted-iron rasp on EVERY syllable, prominent vocal-fry on EVERY line-ending, growl-tail-drop on every phrase-out) — PhaseSyndicate / Cottonmouth-Charlie DNA reinforced with Tim-Storms / late-Leonard-Cohen / Johnny-Cash-American-V-VI / Tom-Waits Alice-era / Barry-White / Ol'-Man-River-Paul-Robeson sub-bass cave-echo weight, keep the vocal locked below G2 for >80% of the song, ABSOLUTELY NEVER lifts above D3: raspy basso-profondo Southern-Gothic-Folk storyteller, weathered whiskey-cured sub-bass chest-voice anchored on C2-E2 sustained pedal notes with sub-bass sine reinforcement doubling the vocal at 35-50Hz, half-spoken half-sung cautionary-folktale phrasing sitting DEEP IN THE THROAT (chest-resonance dominant, jaw dropped, larynx as low as physically possible), close-mic 1-inch proximity for MAXIMUM low-end boost, audible breath / creak / gravel preserved, GRAVELLY vocal-fry creak on every line-ending, deep-southern rural drawl, preacher-in-a-graveyard-at-midnight intimacy, NO baritone NO tenor NO head-voice NO falsetto NO belted chorus, NO smoothing the rasp. Banjo in upper-mid pocket + wailing-harmonica + acoustic-guitar tuned-down (drop-D) + bowed-upright-bass C1-D1 pedal drone + heavy foot-stomp + prominent sub-bass sine reinforcement (35-50Hz) + cypress-swamp foley-thunder ambience — cave-echo sub-bass weight + preacher-at-a-Louisiana-funeral menace is the signature. Gravel on every word, D3 ceiling non-negotiable. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE ULTRA-RASPY SUB-BASS-PROFONDO LOCK (C2-D3 ONLY — CEILING D3 ABSOLUTE, tessitura C2-A2, this is deeper than a standard bass, closer to a basso-profondo / oktavist range, 2 full octaves below a lyric tenor) + HARD RASP+GRAVEL+GROWL LOCK (whiskey-cured whiskey-cracked leathery cigarette-scorched gravel-throated rusted-iron-hinge rasp on EVERY syllable, prominent vocal-fry on EVERY line-ending, growl-tail-drop on every phrase-out, DO NOT smooth this rasp under any circumstance). PhaseSyndicate / Cottonmouth-Charlie DNA reinforced with Tim-Storms / late-Leonard-Cohen (You Want It Darker / Traveling Light) / Johnny-Cash American V-VI (Ain't No Grave / Hurt) / Tom-Waits Alice-era / Barry-White / Ol'-Man-River Paul-Robeson operatic-bass — Southern Gothic Folk storyteller voice locked to genuine sub-bass basso-profondo rasp. ULTRA-DEEP CRAFT: weathered whiskey-cured sub-bass chest-voice anchored on C2-E2 sustained pedal notes with slow deliberate ominous vibrato, half-spoken-half-sung cautionary-folktale phrasing sitting DEEP IN THE THROAT (chest-resonance dominant, jaw dropped, larynx dropped as low as physically possible, mouth cavity opened wide for maximum low-end resonance), close-mic 1-inch bedroom-mic proximity effect for MAXIMUM proximity-boost low-end, audible breath / creak / wooden-porch grain / gravel preserved as musical elements, GRAVELLY vocal-fry creak on nearly every line-ending for gravitas, deep-southern rural drawl colour, preacher-in-a-graveyard-at-midnight intimacy, ABSOLUTELY NEVER lifts above D3 — no baritone, no tenor, no head-voice, no falsetto, no belted chorus. This is BASS-PROFONDO ONLY with maximum rasp. ULTRA-DEEP PITCH ARC: verse spoken-sung in C2-G2 sub-bass pocket with foot-stomp accents on the downbeat → pre-chorus barely lifts to G2-B2 sustained-legato with ominous vibrato → chorus TOPS OUT at C3-D3 MAXIMUM (never higher, ever) with wide slow menacing vibrato + blues-slide + prominent low-end guttural growl-drop line-endings. ARRANGEMENT: 78 BPM in D-minor Aeolian, PhaseSyndicate blueprint pushed for maximum sub-bass rasp reinforcement — fingerpicked banjo (clawhammer or Scruggs 3-finger roll) sitting in the upper-mid pocket to leave room for the sub-bass rasp vocal + wailing cross-harp harmonica lead-instrument with breathy blues bends + acoustic-guitar rhythm strum tuned-down (drop-D) for extra weight + bowed-upright-bass sub-bass DRONE on C1-D1 pedal (yes C1 — one octave below standard bass) + heavy foot-stomp perc on downbeats + tambourine or wooden-spoon on backbeats + occasional lone-fiddle-double-stop or slide-dobro accent + LOUD low-frequency-rumble cypress-swamp foley (crickets/bullfrogs/night-birds/distant-thunder) ambience under the verse + PROMINENT sub-bass sine reinforcement (35-50Hz) on every line-ending pedal-note doubling the vocal's fundamental for cave-echo depth. Reference: Cottonmouth Charlie / Snake Oil Sally / Bootleg Gospel / Gypsy Grandma (PhaseSyndicate) + Ain't No Grave / God's Gonna Cut You Down / When The Man Comes Around / Hurt (Johnny Cash American Recordings V-VI, the deepest-tone late-career recordings) + You Want It Darker / Traveling Light (Leonard Cohen final album) + Way Down In The Hole / God's Away On Business (Tom Waits Alice-era gravel-growl) + Ol' Man River (Paul Robeson operatic basso-profondo) + Barry White / Tim Storms (world's-deepest-voice sub-bass reference) — Cormac-McCarthy prose + True-Detective-Louisiana-swamp atmosphere + preacher-at-a-Louisiana-funeral menace + cave-echo cathedral-organ-pedal-note weight. Solo male lead ONLY, single ghostly female-harmony wash on the chorus permitted (haunted-hymnal texture, no co-lead), no sirens, no synth vox — CRITICAL LOCKS: the vocal MUST spend >80% of its time below G2, MUST NEVER touch above D3, MUST retain the whiskey-gravel rasp on 100% of syllables, the sub-bass sine reinforcement MUST double every pedal note, DO NOT let the vocal drift ANYWHERE near baritone territory, DO NOT smooth or clean the gravel-rasp, DO NOT force any belted chorus, DO NOT modernise with 808s or programmed drums. If the model produces anything sounding like a baritone, a tenor, or a smoothed clean voice, it has CATASTROPHICALLY FAILED — this is RASPY BASSO-PROFONDO ONLY, GRAVEL ON EVERY WORD, D3 CEILING NON-NEGOTIABLE. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: D minor. 78BPM. Song is about: DARK AND EXCITED. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: HEAVY BLUE — 90 BPM in E-minor pentatonic / A-Dorian blues, 12-bar-blues shuffle in 4/4 with a triplet swing. THE DELTA TRIO in equal-partner call-and-response at all times, never buried: (1) HARD-PICKED 5-string BANJO — aggressive clawhammer downstrokes + Scruggs 3-finger rolling triplets, low-tuned drop-D, bright metallic ring, drives the rhythmic pulse. (2) WAILING CROSS-HARP HARMONICA — deep bent blue notes, howling long-held bends, cupped-hand wah-wah tremolo, breath-heavy attack, mournful long-vowel cries answering the banjo. (3) DIRTY BLUES ELECTRIC GUITAR — Telecaster / Stratocaster through mildly-overdriven tube amp, slide-guitar bottleneck moans + bent-string single-note licks + 12-bar shuffle rhythm double-stops, muddy Delta-blues sustain. Support layer only: light foot-stomp on beats 1+3, tambourine or shaker on 2+4, upright-bass or bass-guitar root-fifth walk pattern, occasional barrelhouse piano sprinkle. Front-porch juke-joint late-Saturday-night whiskey aesthetic, Robert-Johnson-meets-Earl-Scruggs vibe, cinematic Delta swamp menace, the three leads trade phrases every 2 bars in a call-response-call pattern. Absolutely NO 808s, NO programmed drums, NO synths | 92 BPM in D-major, strummed acoustic guitar + upright bass + brushed snare, subtle fiddle or mandolin fills, warm timber-cabin production, no synths. Genre fusion: heavy-blue × folk × americana. Blend these 3 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul-pop × piano-blues × adult-contemporary × hyperpop track · confident, aspirational · about I FEEL LIKE I AM DISAPPEARING INTO THIS DARK SPACE , YOU LEFT ME BEHIND · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY TENOR LOCK — do not smooth the rasp, keep the grain: raspy soulful pop-rock tenor, blues-piano-driven phrasing, signature vibrato on line-endings, warm chest-voice mid, grainy high notes, church-piano-with-a-cigarette-rasp texture. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: raspy soulful pop-rock tenor (E3-C5) — blues-piano-driven phrasing with signature vibrato on line-endings, warm chest-voice mid with grainy high notes, church-piano-with-a-cigarette-rasp aesthetic. Ragged sincerity on the hook, hip-slung barroom keyboard swagger. Reference: I Don't Wanna Be / Not Over You / We Belong Together / Chariot. Solo male ONLY, no female backing, no sirens, no synth vox. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A major. 92BPM. Song is about: DARK AND EXCITED. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops. Genre fusion: soul-pop × piano-blues × adult-contemporary × hyperpop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul-pop × piano-blues × adult-contemporary × hyperpop track · confident, aspirational · about I FEEL LIKE I AM DISAPPEARING INTO THIS DARK SPACE , YOU LEFT ME BEHIND · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY TENOR LOCK — do not smooth the rasp, keep the grain: raspy soulful pop-rock tenor, blues-piano-driven phrasing, signature vibrato on line-endings, warm chest-voice mid, grainy high notes, church-piano-with-a-cigarette-rasp texture. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: raspy soulful pop-rock tenor (E3-C5) — blues-piano-driven phrasing with signature vibrato on line-endings, warm chest-voice mid with grainy high notes, church-piano-with-a-cigarette-rasp aesthetic. Ragged sincerity on the hook, hip-slung barroom keyboard swagger. Reference: I Don't Wanna Be / Not Over You / We Belong Together / Chariot. Solo male ONLY, no female backing, no sirens, no synth vox. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN SPANISH ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Spanish singer. KEY: A major. 92BPM. Song is about: DARK AND EXCITED. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops. Genre fusion: soul-pop × piano-blues × adult-contemporary × hyperpop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. r&b × alternative-r&b × soul-pop × pop-ballad track · confident, aspirational · about I FEEL LIKE I AM DISAPPEARING INTO THIS DARK SPACE , YOU LEFT ME BEHIND AND MY HEART HAS CRUMBLE · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL LOCK: DUET pairing — exactly ONE male lead + ONE female lead, trading verses, harmonising the chorus. No solo-only sections, no single-gender duet, no sirens, no synth-vox. TIMBRE — LEAD A: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). LEAD B: STRICT FEMALE RASPY BLUES-SOUL CONTRALTO-MEZZO LOCK — do not smooth the rasp, do not shift to soprano, rasp from chest resonance NOT throat strain: raspy gospel-trained blues-soul contralto pushing into mezzo (E3-D6), mask-placed sandpaper grit, cathartic torch-song delivery, wide-vibrato line-endings, gospel-melismatic pentatonic runs, C5-D5 chest-belted peaks with signature agonised bend, Chess-Records ribbon-mic analog-tape warmth, whispered blues intimacy verses melting into full-throat cathartic roar on the hook — At Last / Tell Mama / I'd Rather Go Blind aesthetic. Both voices audible on the chorus. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Duet pair — LEAD A: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. LEAD B: STRICT RASPY GOSPEL-TRAINED CONTRALTO-INTO-MEZZO (E3-D6, functional Bb3-Bb5) — mask-placed raw sandpaper rasp from CHEST RESONANCE not throat strain, cathartic torch-song delivery with wide-vibrato-heavy line-endings, gospel-trained melismatic pentatonic runs, church-belted C5-D5 chest peaks with signature agonised bend on the peak note. 1960s Chess-Records analog-tape production authenticity — warm ribbon-mic close-mic proximity, upright bass + brushed drums + wailing horn section + Hammond-B3 organ + doo-wop female backing on the chorus. Delivery flips between whispered blues intimacy on verses and full-throat cathartic ROAR on the hook — the Etta trademark is the raw-emotion abandonment on the peak notes. Reference: At Last (Eb-major 65 BPM) / Something's Got a Hold on Me / Tell Mama / I'd Rather Go Blind / Damn Your Eyes. Solo female ONLY (doo-wop female harmony stacks allowed on chorus), no male lead vocals, no sirens, no synth vox — critically DO NOT smooth the rasp, DO NOT overproduce, keep it Chess-Records raw. Both singers trade verses and unite on the chorus, keep BOTH distinct timbres audible. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: D minor. 68BPM. Song is about: DARK AND EXCITED. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 84 BPM in F-minor, half-time trap-influenced drums with lots of space, warped Rhodes chords, sub-bass with subtle distortion, chopped-and-processed vocal ad-libs, dark-cinematic Weeknd / FKA-Twigs aesthetic | 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent. Genre fusion: r&b × alternative-r&b × soul-pop × pop-ballad. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. r&b × alternative-r&b × soul-pop × pop-ballad track · confident, aspirational · about I FEEL LIKE I AM DISAPPEARING INTO THIS DARK SPACE , YOU LEFT ME BEHIND AND MY HEART HAS CRUMBLE · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL LOCK: DUET pairing — exactly ONE male lead + ONE female lead, trading verses, harmonising the chorus. No solo-only sections, no single-gender duet, no sirens, no synth-vox. TIMBRE — LEAD A: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). LEAD B: STRICT FEMALE RASPY BLUES-SOUL CONTRALTO-MEZZO LOCK — do not smooth the rasp, do not shift to soprano, rasp from chest resonance NOT throat strain: raspy gospel-trained blues-soul contralto pushing into mezzo (E3-D6), mask-placed sandpaper grit, cathartic torch-song delivery, wide-vibrato line-endings, gospel-melismatic pentatonic runs, C5-D5 chest-belted peaks with signature agonised bend, Chess-Records ribbon-mic analog-tape warmth, whispered blues intimacy verses melting into full-throat cathartic roar on the hook — At Last / Tell Mama / I'd Rather Go Blind aesthetic. Both voices audible on the chorus. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Duet pair — LEAD A: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. LEAD B: STRICT RASPY GOSPEL-TRAINED CONTRALTO-INTO-MEZZO (E3-D6, functional Bb3-Bb5) — mask-placed raw sandpaper rasp from CHEST RESONANCE not throat strain, cathartic torch-song delivery with wide-vibrato-heavy line-endings, gospel-trained melismatic pentatonic runs, church-belted C5-D5 chest peaks with signature agonised bend on the peak note. 1960s Chess-Records analog-tape production authenticity — warm ribbon-mic close-mic proximity, upright bass + brushed drums + wailing horn section + Hammond-B3 organ + doo-wop female backing on the chorus. Delivery flips between whispered blues intimacy on verses and full-throat cathartic ROAR on the hook — the Etta trademark is the raw-emotion abandonment on the peak notes. Reference: At Last (Eb-major 65 BPM) / Something's Got a Hold on Me / Tell Mama / I'd Rather Go Blind / Damn Your Eyes. Solo female ONLY (doo-wop female harmony stacks allowed on chorus), no male lead vocals, no sirens, no synth vox — critically DO NOT smooth the rasp, DO NOT overproduce, keep it Chess-Records raw. Both singers trade verses and unite on the chorus, keep BOTH distinct timbres audible. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN HAITIAN KREYOL ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Haitian Kreyol singer. KEY: D minor. 74BPM. Song is about: DARK AND EXCITED. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 84 BPM in F-minor, half-time trap-influenced drums with lots of space, warped Rhodes chords, sub-bass with subtle distortion, chopped-and-processed vocal ad-libs, dark-cinematic Weeknd / FKA-Twigs aesthetic | 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent. Genre fusion: r&b × alternative-r&b × soul-pop × pop-ballad. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. r&b × alternative-r&b × soul-pop × pop-ballad track · confident, aspirational · about I FEEL LIKE I AM DISAPPEARING INTO THIS DARK SPACE , YOU LEFT ME BEHIND AND MY HEART HAS CRUMBLE · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE HUSKY-WHISPER-TENOR-BARITONE LOCK (A2-F4) — slow-jam-R&B seduction DNA, keep the breathy close-mic intimacy, do not lift above conversational murmur: husky whisper-tone, intense breathy aspirate phonation, half-spoken half-sung phrasing, airy vocal-fry endings, deliberate neck-of-your-partner intimate delivery, subtle chest-voice peaks only, honeyed head-voice slides on the hook. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE HUSKY-WHISPER-TENOR-BARITONE LOCK (A2-F4, tessitura D3-D4) — slow-jam-R&B seduction DNA. CRAFT: husky whisper-tone close-mic 2-4-inch proximity with intense breathy aspirate phonation, half-spoken half-sung phrasing dropping into airy vocal-fry endings, deliberate audible neck-of-your-partner intimate delivery, restrained never-lifts-above-conversational-murmur volume, subtle chest-voice moments only on peak beats, honeyed head-voice slides on the hook. PITCH ARC: verse in D3-F3 whisper-pocket → pre-chorus A3-D4 with light chest-mix → chorus sustained D4 with intentional fry line-endings. ARRANGEMENT: 74 BPM in D-minor — muted 808-kick + snap-clap perc + Rhodes / Wurlitzer electric-piano chord bed + sub-bass sine-wave + close-mic breath-heavy vocal recording, minimal reverb, close-in dry-slap-echo on the vocal for intimacy. Reference: The-Weeknd-close-mic-slow-jams / early-Miguel / Sade-adjacent male delivery. Solo male ONLY, no female backing, no sirens, no synth vox. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN HAITIAN KREYOL ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Haitian Kreyol singer. KEY: D minor. 74BPM. Song is about: DARK AND EXCITED. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 84 BPM in F-minor, half-time trap-influenced drums with lots of space, warped Rhodes chords, sub-bass with subtle distortion, chopped-and-processed vocal ad-libs, dark-cinematic Weeknd / FKA-Twigs aesthetic | 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent. Genre fusion: r&b × alternative-r&b × soul-pop × pop-ballad. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. r&b × alternative-r&b × soul-pop × pop-ballad track · confident, aspirational · about I FEEL LIKE I AM DISAPPEARING INTO THIS DARK SPACE , YOU LEFT ME BEHIND AND MY HEART HAS CRUMBLE · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE HUSKY-WHISPER-TENOR-BARITONE LOCK (A2-F4) — slow-jam-R&B seduction DNA, keep the breathy close-mic intimacy, do not lift above conversational murmur: husky whisper-tone, intense breathy aspirate phonation, half-spoken half-sung phrasing, airy vocal-fry endings, deliberate neck-of-your-partner intimate delivery, subtle chest-voice peaks only, honeyed head-voice slides on the hook. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE HUSKY-WHISPER-TENOR-BARITONE LOCK (A2-F4, tessitura D3-D4) — slow-jam-R&B seduction DNA. CRAFT: husky whisper-tone close-mic 2-4-inch proximity with intense breathy aspirate phonation, half-spoken half-sung phrasing dropping into airy vocal-fry endings, deliberate audible neck-of-your-partner intimate delivery, restrained never-lifts-above-conversational-murmur volume, subtle chest-voice moments only on peak beats, honeyed head-voice slides on the hook. PITCH ARC: verse in D3-F3 whisper-pocket → pre-chorus A3-D4 with light chest-mix → chorus sustained D4 with intentional fry line-endings. ARRANGEMENT: 74 BPM in D-minor — muted 808-kick + snap-clap perc + Rhodes / Wurlitzer electric-piano chord bed + sub-bass sine-wave + close-mic breath-heavy vocal recording, minimal reverb, close-in dry-slap-echo on the vocal for intimacy. Reference: The-Weeknd-close-mic-slow-jams / early-Miguel / Sade-adjacent male delivery. Solo male ONLY, no female backing, no sirens, no synth vox. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN HAITIAN KREYOL ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Haitian Kreyol singer. KEY: D minor. 74BPM. Song is about: DARK AND EXCITED. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 84 BPM in F-minor, half-time trap-influenced drums with lots of space, warped Rhodes chords, sub-bass with subtle distortion, chopped-and-processed vocal ad-libs, dark-cinematic Weeknd / FKA-Twigs aesthetic | 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent. Genre fusion: r&b × alternative-r&b × soul-pop × pop-ballad. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. r&b × alternative-r&b × soul-pop × pop-ballad track · confident, aspirational · about I FEEL LIKE I AM DISAPPEARING INTO THIS DARK SPACE , YOU LEFT ME BEHIND AND MY HEART HAS CRUMBLE · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE HUSKY-WHISPER-TENOR-BARITONE LOCK (A2-F4) — slow-jam-R&B seduction DNA, keep the breathy close-mic intimacy, do not lift above conversational murmur: husky whisper-tone, intense breathy aspirate phonation, half-spoken half-sung phrasing, airy vocal-fry endings, deliberate neck-of-your-partner intimate delivery, subtle chest-voice peaks only, honeyed head-voice slides on the hook. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE HUSKY-WHISPER-TENOR-BARITONE LOCK (A2-F4, tessitura D3-D4) — slow-jam-R&B seduction DNA. CRAFT: husky whisper-tone close-mic 2-4-inch proximity with intense breathy aspirate phonation, half-spoken half-sung phrasing dropping into airy vocal-fry endings, deliberate audible neck-of-your-partner intimate delivery, restrained never-lifts-above-conversational-murmur volume, subtle chest-voice moments only on peak beats, honeyed head-voice slides on the hook. PITCH ARC: verse in D3-F3 whisper-pocket → pre-chorus A3-D4 with light chest-mix → chorus sustained D4 with intentional fry line-endings. ARRANGEMENT: 74 BPM in D-minor — muted 808-kick + snap-clap perc + Rhodes / Wurlitzer electric-piano chord bed + sub-bass sine-wave + close-mic breath-heavy vocal recording, minimal reverb, close-in dry-slap-echo on the vocal for intimacy. Reference: The-Weeknd-close-mic-slow-jams / early-Miguel / Sade-adjacent male delivery. Solo male ONLY, no female backing, no sirens, no synth vox. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN HAITIAN KREYOL ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Haitian Kreyol singer. KEY: D minor. 74BPM. Song is about: DARK AND EXCITED. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 84 BPM in F-minor, half-time trap-influenced drums with lots of space, warped Rhodes chords, sub-bass with subtle distortion, chopped-and-processed vocal ad-libs, dark-cinematic Weeknd / FKA-Twigs aesthetic | 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent. Genre fusion: r&b × alternative-r&b × soul-pop × pop-ballad. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. reggae × folk × world × soul track · confident, aspirational · about I FEEL LIKE I AM DISSAPERRING INTO THIS DARK SPACE , · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE HUSKY-WHISPER-TENOR-BARITONE LOCK (A2-F4) — slow-jam-R&B seduction DNA, keep the breathy close-mic intimacy, do not lift above conversational murmur: husky whisper-tone, intense breathy aspirate phonation, half-spoken half-sung phrasing, airy vocal-fry endings, deliberate neck-of-your-partner intimate delivery, subtle chest-voice peaks only, honeyed head-voice slides on the hook. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE HUSKY-WHISPER-TENOR-BARITONE LOCK (A2-F4, tessitura D3-D4) — slow-jam-R&B seduction DNA. CRAFT: husky whisper-tone close-mic 2-4-inch proximity with intense breathy aspirate phonation, half-spoken half-sung phrasing dropping into airy vocal-fry endings, deliberate audible neck-of-your-partner intimate delivery, restrained never-lifts-above-conversational-murmur volume, subtle chest-voice moments only on peak beats, honeyed head-voice slides on the hook. PITCH ARC: verse in D3-F3 whisper-pocket → pre-chorus A3-D4 with light chest-mix → chorus sustained D4 with intentional fry line-endings. ARRANGEMENT: 74 BPM in D-minor — muted 808-kick + snap-clap perc + Rhodes / Wurlitzer electric-piano chord bed + sub-bass sine-wave + close-mic breath-heavy vocal recording, minimal reverb, close-in dry-slap-echo on the vocal for intimacy. Reference: The-Weeknd-close-mic-slow-jams / early-Miguel / Sade-adjacent male delivery. Solo male ONLY, no female backing, no sirens, no synth vox. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN HAITIAN KREYOL ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Haitian Kreyol singer. KEY: D minor. 74BPM. Song is about: DARK AND EXCITED. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. PRODUCTION DNA: 84 BPM in F-minor, half-time trap-influenced drums with lots of space, warped Rhodes chords, sub-bass with subtle distortion, chopped-and-processed vocal ad-libs, dark-cinematic Weeknd / FKA-Twigs aesthetic | 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent. Genre fusion: r&b × alternative-r&b × soul-pop × pop-ballad. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. reggae × folk × world × soul track · confident, aspirational · about I FEEL LIKE I AM DISSAPERRING INTO THIS DARK SPACE , · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A major. 68BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: country × country-rock × americana × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. country × country-rock × americana × soul-pop track · confident, aspirational · about I FEEL LIKE I AM DISSAPERRING INTO THIS DARK SPACE , · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A major. 68BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. Genre fusion: country × country-rock × americana × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul × blues × r&b × soul-pop track · confident, aspirational · about How long can we hold on · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel DNA, keep the sandpaper timbre and the blues-slide phrasing, do not smooth: raspy soul-blues weathered chest-voice with sandpaper-timbre on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato, blues-slide phrasing between notes, chest-voice growls at the top of the belt, close-mic whiskey-warm verse intimacy, torch-delivery arms-open chorus belts. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4, tessitura E3-D4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel-edge DNA. CRAFT: raspy soul-blues weathered chest-voice with sandpaper-timbre grain on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato on sustained notes, blues-slide phrasing between notes, chest-voice growls at the top of the belt for cathartic intensity, close-mic proximity on the verse for whiskey-warm intimacy, torch-delivery arms-open belts on the chorus. PITCH ARC: verse whiskey-conversational E3-A3 → pre-chorus B3-D4 mixed-voice → chorus D4-G4 raspy chest-belt with blues-slide line-endings. ARRANGEMENT: 78 BPM in A-minor — Muscle-Shoals-adjacent tight rhythm section + Hammond-B3 organ + bluesy telecaster lead-guitar counter-melody + horns on the chorus + tambourine + gospel-choir female backing wash on the outro (permitted). Reference: Joe-Cocker / Chris-Stapleton / early-Ray-Charles / Marc-Broussard blue-eyed soul catalogue. Solo male lead, gospel-choir female-harmony chorus wash permitted, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 78BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. Genre fusion: soul × blues × r&b × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul × blues × r&b × soul-pop track · confident, aspirational · about I still have a place in my heart even if broken it a thousand times, all I want is to see you again , · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel DNA, keep the sandpaper timbre and the blues-slide phrasing, do not smooth: raspy soul-blues weathered chest-voice with sandpaper-timbre on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato, blues-slide phrasing between notes, chest-voice growls at the top of the belt, close-mic whiskey-warm verse intimacy, torch-delivery arms-open chorus belts. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4, tessitura E3-D4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel-edge DNA. CRAFT: raspy soul-blues weathered chest-voice with sandpaper-timbre grain on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato on sustained notes, blues-slide phrasing between notes, chest-voice growls at the top of the belt for cathartic intensity, close-mic proximity on the verse for whiskey-warm intimacy, torch-delivery arms-open belts on the chorus. PITCH ARC: verse whiskey-conversational E3-A3 → pre-chorus B3-D4 mixed-voice → chorus D4-G4 raspy chest-belt with blues-slide line-endings. ARRANGEMENT: 78 BPM in A-minor — Muscle-Shoals-adjacent tight rhythm section + Hammond-B3 organ + bluesy telecaster lead-guitar counter-melody + horns on the chorus + tambourine + gospel-choir female backing wash on the outro (permitted). Reference: Joe-Cocker / Chris-Stapleton / early-Ray-Charles / Marc-Broussard blue-eyed soul catalogue. Solo male lead, gospel-choir female-harmony chorus wash permitted, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 78BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. Genre fusion: soul × blues × r&b × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul × blues × r&b × soul-pop track · confident, aspirational · about I held a moment where we where happy and now · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel DNA, keep the sandpaper timbre and the blues-slide phrasing, do not smooth: raspy soul-blues weathered chest-voice with sandpaper-timbre on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato, blues-slide phrasing between notes, chest-voice growls at the top of the belt, close-mic whiskey-warm verse intimacy, torch-delivery arms-open chorus belts. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE RASPY-SOUL-BLUES-TENOR LOCK (A2-G4, tessitura E3-D4) — Joe-Cocker-meets-Chris-Stapleton-meets-Ray-Charles weathered-gospel-edge DNA. CRAFT: raspy soul-blues weathered chest-voice with sandpaper-timbre grain on line-endings, gospel-adjacent melismatic runs, wide slow expressive vibrato on sustained notes, blues-slide phrasing between notes, chest-voice growls at the top of the belt for cathartic intensity, close-mic proximity on the verse for whiskey-warm intimacy, torch-delivery arms-open belts on the chorus. PITCH ARC: verse whiskey-conversational E3-A3 → pre-chorus B3-D4 mixed-voice → chorus D4-G4 raspy chest-belt with blues-slide line-endings. ARRANGEMENT: 78 BPM in A-minor — Muscle-Shoals-adjacent tight rhythm section + Hammond-B3 organ + bluesy telecaster lead-guitar counter-melody + horns on the chorus + tambourine + gospel-choir female backing wash on the outro (permitted). Reference: Joe-Cocker / Chris-Stapleton / early-Ray-Charles / Marc-Broussard blue-eyed soul catalogue. Solo male lead, gospel-choir female-harmony chorus wash permitted, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 78BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. Genre fusion: soul × blues × r&b × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. soul × blues × r&b × soul-pop track · confident, aspirational · about I want give you my hand wherever you go I want to be there · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

PRODUCTION DNA: Set the tempo at 92 BPM in 4/4 time, rooted in G major with a natural Mixolydian color on the turnarounds. Lay a kick drum squarely on beats one and three, a crisp snare popping on two and four, with a steady eighth-note closed hi-hat pattern and a brushed shuffle ghost on the snare for warmth. Run a fingerpicked acoustic dreadnought guitar as the rhythmic spine with a boom-chick pattern, layered beneath a pedal steel guitar with glassy bar slides and slow vibrato swells carrying the emotional melody. Add a bluegrass fiddle playing lyrical fills between vocal phrases, a bright-toned mandolin chopping on the offbeats, and a diatonic harmonica breathing honky-tonk bends on the turnaround with soulful wailing runs that crescendo into the chorus. Drive the low end with an upright bass walking a classic I-IV-V root-fifth pattern reinforced by a warm electric bass guitar adding body and sustain on the chorus. SOFT ENTRY: Open the song with a delicate, intimate intro — a solo violin enters first, playing a tender long-bow melodic phrase in the upper register with subtle vibrato, evoking longing and vulnerability. After two bars, a cello joins beneath the violin with a slow legato counter-melody, its rich warm resonance anchoring the emotional space. A fingerpicked banjo then layers in softly, plucking gentle arpeggiated rolls at low dynamic, adding an Americana texture without overpowering the strings. The electric bass guitar enters quietly on the root notes, felt more than heard. The harmonica breathes in softly mid-intro with a single long plaintive bend before the full rhythm section gradually builds. The full arrangement blooms into the verse only after this quiet string-led opening establishes the emotional tone. The violin continues to weave lyrical obbligato fills between vocal phrases throughout the song, while the cello provides sustained harmonic undertones during verses and swells dramatically on the chorus. The banjo maintains a steady but soft fingerpicked roll supporting the groove without dominating. The harmonica doubles its presence on turnarounds and chorus breaks with expressive bends and vibrato-soaked long tones. Layer all string, banjo, bass guitar, and harmonica elements so the arrangement feels organic, emotionally rich, and cinematic across the full song arc. STRICT TEMPO LOCK: 90 BPM. STRICT KEY LOCK: c-minor.

PRODUCTION DNA: Set the tempo at 92 BPM in 4/4 time, rooted in G major with a natural Mixolydian color on the turnarounds. Lay a kick drum squarely on beats one and three, a crisp snare popping on two and four, with a steady eighth-note closed hi-hat pattern and a brushed shuffle ghost on the snare for warmth. Run a fingerpicked acoustic dreadnought guitar as the rhythmic spine with a boom-chick pattern, layered beneath a pedal steel guitar with glassy bar slides and slow vibrato swells carrying the emotional melody. Add a bluegrass fiddle playing lyrical fills between vocal phrases, a bright-toned mandolin chopping on the offbeats, and a diatonic harmonica breathing honky-tonk bends on the turnaround. Drive the low end with an upright bass walking a classic I-IV-V root-fifth pattern. Vocals should be plainspoken American Southern drawl, earnest and unadorned, with close sibling-style harmony on choruses, referencing Hank Williams, Patsy Cline, Merle Haggard, Johnny Cash, Loretta Lynn, and early Dolly Parton. No trap 808s, no synthesized EDM textures, no heavily autotuned pop production. | Set the tempo to 96–104 BPM in 4/4 time, rooted in G major or D major with a bright, open diatonic harmonic palette favoring I–IV–V–I progressions and occasional ii–V turns. Kick drum lands on beats 1 and 3 with a warm thud, snare cracks on 2 and 4, hi-hats driving steady eighths with slight shuffle feel, and a light tambourine riding the backbeat. Bass guitar walks country-style quarter-note lines between root and fifth, anchoring the groove without overplaying. Pedal steel guitar is essential, delivering longing glissandos and characteristic steel bends with a warm, slightly reverberant tone. Add a Telecaster played with a clean twangy attack using hybrid picking, a strummed acoustic rhythm guitar for chordal body, and a Hammond organ sitting low in the mix for warmth. Vocals are earnest, slightly nasal, mid-range American delivery blending Southern drawl with rock directness. Reference Eagles' Desperado, Gram Parsons' Return of the Grievous Angel, Poco's Crazy Love, and Linda Ronstadt's Silver Threads and Golden Needles. NO trap 808s, NO EDM synthesizers, NO heavy metal distortion. | Set the tempo between 72 and 96 BPM in 4/4 time, anchored in an open major or mixolydian key such as G or D, with occasional modal borrowing for blues color. Kick lands on beats 1 and 3 with a warm thuddy decay, snare cracks on 2 and 4 with brushed ghost notes between, hi-hats shuffle

STRICT VOCAL LOCK: DUET pairing — exactly ONE male lead + ONE female lead, trading verses, harmonising the chorus. No solo-only sections, no single-gender duet, no sirens, no synth-vox. TIMBRE — LEAD A: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). LEAD B: STRICT FEMALE RASPY BLUES-SOUL CONTRALTO-MEZZO LOCK — do not smooth the rasp, do not shift to soprano, rasp from chest resonance NOT throat strain: raspy gospel-trained blues-soul contralto pushing into mezzo (E3-D6), mask-placed sandpaper grit, cathartic torch-song delivery, wide-vibrato line-endings, gospel-melismatic pentatonic runs, C5-D5 chest-belted peaks with signature agonised bend, Chess-Records ribbon-mic analog-tape warmth, whispered blues intimacy verses melting into full-throat cathartic roar on the hook — At Last / Tell Mama / I'd Rather Go Blind aesthetic. Both voices audible on the chorus. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Duet pair — LEAD A: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. LEAD B: STRICT RASPY GOSPEL-TRAINED CONTRALTO-INTO-MEZZO (E3-D6, functional Bb3-Bb5) — mask-placed raw sandpaper rasp from CHEST RESONANCE not throat strain, cathartic torch-song delivery with wide-vibrato-heavy line-endings, gospel-trained melismatic pentatonic runs, church-belted C5-D5 chest peaks with signature agonised bend on the peak note. 1960s Chess-Records analog-tape production authenticity — warm ribbon-mic close-mic proximity, upright bass + brushed drums + wailing horn section + Hammond-B3 organ + doo-wop female backing on the chorus. Delivery flips between whispered blues intimacy on verses and full-throat cathartic ROAR on the hook — the Etta trademark is the raw-emotion abandonment on the peak notes. Reference: At Last (Eb-major 65 BPM) / Something's Got a Hold on Me / Tell Mama / I'd Rather Go Blind / Damn Your Eyes. Solo female ONLY (doo-wop female harmony stacks allowed on chorus), no male lead vocals, no sirens, no synth vox — critically DO NOT smooth the rasp, DO NOT overproduce, keep it Chess-Records raw. Both singers trade verses and unite on the chorus, keep BOTH distinct timbres audible. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN SPANISH ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Spanish singer. KEY: A major. 68BPM. Song is about: HATE AND LOVE , GRITTY. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: country × country-rock × americana × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. DEFIANT OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL LOCK: DUET pairing — exactly ONE male lead + ONE female lead, trading verses, harmonising the chorus. No solo-only sections, no single-gender duet, no sirens, no synth-vox. TIMBRE — LEAD A: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). LEAD B: STRICT FEMALE RASPY BLUES-SOUL CONTRALTO-MEZZO LOCK — do not smooth the rasp, do not shift to soprano, rasp from chest resonance NOT throat strain: raspy gospel-trained blues-soul contralto pushing into mezzo (E3-D6), mask-placed sandpaper grit, cathartic torch-song delivery, wide-vibrato line-endings, gospel-melismatic pentatonic runs, C5-D5 chest-belted peaks with signature agonised bend, Chess-Records ribbon-mic analog-tape warmth, whispered blues intimacy verses melting into full-throat cathartic roar on the hook — At Last / Tell Mama / I'd Rather Go Blind aesthetic. Both voices audible on the chorus. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Duet pair — LEAD A: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. LEAD B: STRICT RASPY GOSPEL-TRAINED CONTRALTO-INTO-MEZZO (E3-D6, functional Bb3-Bb5) — mask-placed raw sandpaper rasp from CHEST RESONANCE not throat strain, cathartic torch-song delivery with wide-vibrato-heavy line-endings, gospel-trained melismatic pentatonic runs, church-belted C5-D5 chest peaks with signature agonised bend on the peak note. 1960s Chess-Records analog-tape production authenticity — warm ribbon-mic close-mic proximity, upright bass + brushed drums + wailing horn section + Hammond-B3 organ + doo-wop female backing on the chorus. Delivery flips between whispered blues intimacy on verses and full-throat cathartic ROAR on the hook — the Etta trademark is the raw-emotion abandonment on the peak notes. Reference: At Last (Eb-major 65 BPM) / Something's Got a Hold on Me / Tell Mama / I'd Rather Go Blind / Damn Your Eyes. Solo female ONLY (doo-wop female harmony stacks allowed on chorus), no male lead vocals, no sirens, no synth vox — critically DO NOT smooth the rasp, DO NOT overproduce, keep it Chess-Records raw. Both singers trade verses and unite on the chorus, keep BOTH distinct timbres audible. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN SPANISH ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Spanish singer. KEY: A major. 68BPM. Song is about: HATE AND LOVE , GRITTY. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: country × country-rock × americana × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. DEFIANT OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

PRODUCTION DNA: Set the tempo to 128 BPM in 4/4 time in B minor, leaning into the bittersweet amargue emotional palette. The drum pattern centers on the bongo driving a syncopated martillo pattern on beats 2 and 4, with a crisp güira scraper laying constant sixteenth-note subdivisions across every bar and a soft clave-influenced kick landing on beat 1 and the and-of-3. The bass guitar plays a walking tumbao-style pattern, anchoring root notes on beat 1 then bouncing through the fifth on the offbeat, warm and mid-forward with slight fret buzz. Feature a lead requinto guitar with nylon or steel strings playing ornamental single-note melodies between vocal phrases, a rhythm guitar strumming percussive muted upstrokes, and a second guitar handling full chord voicings. Vocals should be a tenor male voice singing in Dominican Spanish with raw emotional rasp and melismatic slides conveying heartbreak and longing. Reference the styles of José Manuel Calderón, Luis Segura, Antony Santos, Monchy y Alexandra, and Aventura. NO trap 808 bass, NO electronic EDM drops, NO reggaeton dembow rhythm. | Produce a track at 96 BPM in 4/4 time, rooted in A minor with frequent lifts to the relative major (C major) for emotionally bright choruses, capturing the bittersweet romantic tension central to this style. The drum pattern features a soft kick on beats 1 and 3, a snappy snare on 2 and 4 with light reverb, and a shimmering closed hi-hat running steady eighth notes with occasional open hits on the and-of-4 for lift. Bass is a clean electric bass playing a gentle syncopated pattern, landing on the root on beat 1 and walking up on beat 3 to outline chord changes smoothly. Layer a nylon-string acoustic guitar with warm finger-picked arpeggios carrying the harmonic rhythm, supported by lush sustained electric piano chords with a slight chorus effect adding Iberian warmth. A bright melodic synthesizer carries the memorable hook in the upper register. Vocals are delivered in fluid Castilian or Latin American Spanish, emotive and breathy with soaring chorus belts, evoking Julio Iglesias, Shakira, Ricky Martin, Enrique Iglesias, and Gloria Estefan. NO reggaeton dembow rhythms, NO trap 808 bass, NO rock distortion. | Set the tempo at 95–100 BPM in 4/4 time with an iron-locked dembow rhythmic engine at its core: kick drum lands on beat 1 and the "and" of beat 2, with a rimshot or snare cracking on the "and" of beat 2 and beat 4 creating that signature syncopated dembow pulse, tight

PRODUCTION DNA: Set the tempo to 128 BPM in 4/4 time in B minor, leaning into the bittersweet amargue emotional palette. The drum pattern centers on the bongo driving a syncopated martillo pattern on beats 2 and 4, with a crisp güira scraper laying constant sixteenth-note subdivisions across every bar and a soft clave-influenced kick landing on beat 1 and the and-of-3. The bass guitar plays a walking tumbao-style pattern, anchoring root notes on beat 1 then bouncing through the fifth on the offbeat, warm and mid-forward with slight fret buzz. Feature a lead requinto guitar with nylon or steel strings playing ornamental single-note melodies between vocal phrases, a rhythm guitar strumming percussive muted upstrokes, and a second guitar handling full chord voicings. Vocals should be a tenor male voice singing in Dominican Spanish with raw emotional rasp and melismatic slides conveying heartbreak and longing. Reference the styles of José Manuel Calderón, Luis Segura, Antony Santos, Monchy y Alexandra, and Aventura. NO trap 808 bass, NO electronic EDM drops, NO reggaeton dembow rhythm. | Produce a track at 96 BPM in 4/4 time, rooted in A minor with frequent lifts to the relative major (C major) for emotionally bright choruses, capturing the bittersweet romantic tension central to this style. The drum pattern features a soft kick on beats 1 and 3, a snappy snare on 2 and 4 with light reverb, and a shimmering closed hi-hat running steady eighth notes with occasional open hits on the and-of-4 for lift. Bass is a clean electric bass playing a gentle syncopated pattern, landing on the root on beat 1 and walking up on beat 3 to outline chord changes smoothly. Layer a nylon-string acoustic guitar with warm finger-picked arpeggios carrying the harmonic rhythm, supported by lush sustained electric piano chords with a slight chorus effect adding Iberian warmth. A bright melodic synthesizer carries the memorable hook in the upper register. Vocals are delivered in fluid Castilian or Latin American Spanish, emotive and breathy with soaring chorus belts, evoking Julio Iglesias, Shakira, Ricky Martin, Enrique Iglesias, and Gloria Estefan. NO reggaeton dembow rhythms, NO trap 808 bass, NO rock distortion. | Set the tempo at 95–100 BPM in 4/4 time with an iron-locked dembow rhythmic engine at its core: kick drum lands on beat 1 and the "and" of beat 2, with a rimshot or snare cracking on the "and" of beat 2 and beat 4 creating that signature syncopated dembow pulse, tight

STRICT VOCAL LOCK: DUET pairing — exactly ONE male lead + ONE female lead, trading verses, harmonising the chorus. No solo-only sections, no single-gender duet, no sirens, no synth-vox. TIMBRE — LEAD A: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). LEAD B: STRICT FEMALE RASPY BLUES-SOUL CONTRALTO-MEZZO LOCK — do not smooth the rasp, do not shift to soprano, rasp from chest resonance NOT throat strain: raspy gospel-trained blues-soul contralto pushing into mezzo (E3-D6), mask-placed sandpaper grit, cathartic torch-song delivery, wide-vibrato line-endings, gospel-melismatic pentatonic runs, C5-D5 chest-belted peaks with signature agonised bend, Chess-Records ribbon-mic analog-tape warmth, whispered blues intimacy verses melting into full-throat cathartic roar on the hook — At Last / Tell Mama / I'd Rather Go Blind aesthetic. Both voices audible on the chorus. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Duet pair — LEAD A: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. LEAD B: STRICT RASPY GOSPEL-TRAINED CONTRALTO-INTO-MEZZO (E3-D6, functional Bb3-Bb5) — mask-placed raw sandpaper rasp from CHEST RESONANCE not throat strain, cathartic torch-song delivery with wide-vibrato-heavy line-endings, gospel-trained melismatic pentatonic runs, church-belted C5-D5 chest peaks with signature agonised bend on the peak note. 1960s Chess-Records analog-tape production authenticity — warm ribbon-mic close-mic proximity, upright bass + brushed drums + wailing horn section + Hammond-B3 organ + doo-wop female backing on the chorus. Delivery flips between whispered blues intimacy on verses and full-throat cathartic ROAR on the hook — the Etta trademark is the raw-emotion abandonment on the peak notes. Reference: At Last (Eb-major 65 BPM) / Something's Got a Hold on Me / Tell Mama / I'd Rather Go Blind / Damn Your Eyes. Solo female ONLY (doo-wop female harmony stacks allowed on chorus), no male lead vocals, no sirens, no synth vox — critically DO NOT smooth the rasp, DO NOT overproduce, keep it Chess-Records raw. Both singers trade verses and unite on the chorus, keep BOTH distinct timbres audible. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. SING IN SPANISH ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Spanish singer. KEY: A major. 68BPM. Song is about: HATE AND LOVE , GRITTY. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical / fingerpicked nylon-string acoustic guitar (dry, close-mic'd, no band underneath) — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: country × country-rock × americana × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. DEFIANT OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL LOCK: DUET pairing — exactly ONE male lead + ONE female lead, trading verses, harmonising the chorus. No solo-only sections, no single-gender duet, no sirens, no synth-vox. TIMBRE — LEAD A: STRICT MALE SOUL HIGH-BARITONE / TENOR LOCK (C#3-A4) — HOLD THE LOW C#3-E3 CHEST REGISTER on verses, do not smooth the mask-placed grit, do not shift to smooth-crooner, gravel from BREATH-COMPRESSION MASK PLACEMENT not throat strain: soulful blues-infused country-tenor / high-baritone with heavy low-chest anchoring, mask-placed gritty resonance driven forward into the face, breath-compression rasp WITHOUT throat strain, glottal-attack melismatic pentatonic runs, bluesy decrescendo phrasing, sustained A4 belted peaks only on chorus (verses stay LOW in the chest). LEAD B: STRICT FEMALE RASPY BLUES-SOUL CONTRALTO-MEZZO LOCK — do not smooth the rasp, do not shift to soprano, rasp from chest resonance NOT throat strain: raspy gospel-trained blues-soul contralto pushing into mezzo (E3-D6), mask-placed sandpaper grit, cathartic torch-song delivery, wide-vibrato line-endings, gospel-melismatic pentatonic runs, C5-D5 chest-belted peaks with signature agonised bend, Chess-Records ribbon-mic analog-tape warmth, whispered blues intimacy verses melting into full-throat cathartic roar on the hook — At Last / Tell Mama / I'd Rather Go Blind aesthetic. Both voices audible on the chorus. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Duet pair — LEAD A: soulful blues-infused country-tenor / high-baritone (C#3-A4, tessitura E3-E4 with sustained A4 belted peaks) blending country + soul + blues + Southern-rock traditions. MASK-PLACED gritty resonance — directs sound forward into the mask for a snarly bluesy front-of-face timbre. BREATH-COMPRESSION grit: pulls back breath pressure while maintaining hip-anchored support, letting gravel and rasp bloom WITHOUT straining or pushing from the throat. Keeps jaw + neck + shoulders relaxed even on high-A4 belted peaks. Signature melismatic pentatonic runs with GLOTTAL ATTACKS and controlled subtle vibrato accenting specific lyric words. Masterful DYNAMIC CONTROL — bluesy decrescendos and sudden volume drops for emotional depth on line-endings, seamlessly connected chest-to-head-voice transitions (no thin passaggio). Reference: Tennessee Whiskey (A-major 6/8 soul-ballad time), Broken Halos, Starting Over, Fire Away, Millionaire — warm mic'd tube-amp Telecaster + brushed drums + upright bass + Hammond-B3 organ + tasteful pedal-steel swells + Muscle-Shoals-style female-BGV background wash on the chorus. Solo male ONLY as lead, background 'ooh-ah' harmony stacks allowed on chorus, no lead female vocals, no sirens, no synth vox. LEAD B: STRICT RASPY GOSPEL-TRAINED CONTRALTO-INTO-MEZZO (E3-D6, functional Bb3-Bb5) — mask-placed raw sandpaper rasp from CHEST RESONANCE not throat strain, cathartic torch-song delivery with wide-vibrato-heavy line-endings, gospel-trained melismatic pentatonic runs, church-belted C5-D5 chest peaks with signature agonised bend on the peak note. 1960s Chess-Records analog-tape production authenticity — warm ribbon-mic close-mic proximity, upright bass + brushed drums + wailing horn section + Hammond-B3 organ + doo-wop female backing on the chorus. Delivery flips between whispered blues intimacy on verses and full-throat cathartic ROAR on the hook — the Etta trademark is the raw-emotion abandonment on the peak notes. Reference: At Last (Eb-major 65 BPM) / Something's Got a Hold on Me / Tell Mama / I'd Rather Go Blind / Damn Your Eyes. Solo female ONLY (doo-wop female harmony stacks allowed on chorus), no male lead vocals, no sirens, no synth vox — critically DO NOT smooth the rasp, DO NOT overproduce, keep it Chess-Records raw. Both singers trade verses and unite on the chorus, keep BOTH distinct timbres audible. Voice type: Warm mid-male range · A2-A4 · pop-standard weight. SING IN SPANISH ONLY. Strict native-speaker pronunciation — do NOT translate or Anglicize the lyrics. Every syllable must sound like a fluent Spanish singer. KEY: A major. 95BPM. Song is about: HATE AND LOVE , GRITTY. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND hammond B3 organ (Leslie-swirl chords under choruses, gospel stabs on ad-libs) AND cinematic string section (legato under verses, swelling on the chorus) AND walking upright bass (dotted-quarter walking lines under verses, jazz-swing pulse) — spotlight all 4 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. AI DJ LIVE-MIX MODE: perform this track like a live DJ set. Open with a filter-swept intro, cue in the beat with a drum roll, drop the first hook with an air-horn stab. Between every section (verse→chorus→verse→bridge→outro) use a 1-bar transition — either a filter sweep, a reverse cymbal, a vinyl-scratch flourish, or a bass drop. Progressively introduce NEW instruments as the song builds: strip back to just voice+drums on verse 1, add pads on the chorus, add lead instrument on verse 2, add strings/horn stabs on the bridge, then STACK EVERYTHING on the final chorus for the peak. Occasional turntable scratches and DJ ad-lib chops between vocal phrases. INTERLUDE LOOP: after Verse 2 (before the Bridge), drop the vocals and play a REPEATING 8-BAR INSTRUMENTAL LOOP using the feature instruments — a hooky, loopable 4-bar phrase repeated twice — leaving space over the top so a DJ/MC could rap or ad-lib over it live. Keep the same key, same BPM, same groove. Fade the vocals back in on the Bridge. Genre fusion: bachata × latin-pop × reggaeton × latin. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. DEFIANT OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

PRODUCTION DNA: Set the tempo at 92 BPM in 4/4 time, rooted in a warm F minor with soulful chord progressions cycling through the flat VII and IV, evoking deep emotional longing. Lay a crisp snare firmly on beats 2 and 4, a tight kick anchoring beat 1 with a ghost kick on the and-of-3, and a shuffled 16th-note hi-hat pattern with subtle open hats on upbeats for that classic groove pocket. Drive the low end with a round-toned electric bass playing syncopated eighth-note figures that lock beneath the kick with a slight upper-register slide. Feature a warm upright-style Rhodes electric piano delivering lush, slightly overdriven chordal stabs, a clean single-coil electric guitar fingerpicking melodic fills between vocal phrases, and a tenor saxophone breathing breathy, plaintive countermelodies in the bridge. Vocals should be raw and confessional, delivered in American English with chest-voice power, melismatic runs on sustained notes, and a pleading conversational tone. Reference the emotional architecture of Marvin Gaye, Aretha Franklin, Ray Charles, and Etta James. NO trap 808 sub-drops, NO synthetic EDM textures, NO autotuned pitch-correction artifacting. | Set the tempo at 96–110 BPM in 4/4 time, rooted in a warm Bb major or Eb major tonality with gospel-tinged chord progressions emphasizing IV–I resolutions and added ninth chords. Kick drum lands hard on beats one and three, snare cracks on two and four reinforced by live handclaps layered slightly behind the beat for human pocket feel, with a loose closed hi-hat running eighth notes and an occasional open hat on the and-of-four. The bass is a warm fingered electric Fender Precision delivering a syncopated melodic walking line that locks with the kick. Rhodes electric piano carries lush comping with gentle tremolo, a bright upright or grand piano adds rhythmic stabs, and a tight horn section of two trumpets and two tenor saxophones punches accented offbeat hits. A Stratocaster rhythm guitar chops clean gospel-funk sixteenth-note strums through a subtle room reverb. Lead vocals are impassioned and slightly raspy, with melismatic runs, call-and-response interplay from a three-part backing choir delivering tight gospel harmonies. Reference Aretha Franklin, Marvin Gaye, Al Green, Bill Withers, and Stevie Wonder. NO trap 808 sub-bass, NO synthesized EDM textures, NO distorted rock guitar. | Set the tempo at 126 BPM in 4/4 swing time with a shuffled triplet feel throughout. Root the harmony in Bb major wit

PRODUCTION DNA: Set the tempo at 92 BPM in 4/4 time, rooted in a warm F minor with soulful chord progressions cycling through the flat VII and IV, evoking deep emotional longing. Lay a crisp snare firmly on beats 2 and 4, a tight kick anchoring beat 1 with a ghost kick on the and-of-3, and a shuffled 16th-note hi-hat pattern with subtle open hats on upbeats for that classic groove pocket. Drive the low end with a round-toned electric bass playing syncopated eighth-note figures that lock beneath the kick with a slight upper-register slide. Feature a warm upright-style Rhodes electric piano delivering lush, slightly overdriven chordal stabs, a clean single-coil electric guitar fingerpicking melodic fills between vocal phrases, and a tenor saxophone breathing breathy, plaintive countermelodies in the bridge. Vocals should be raw and confessional, delivered in American English with chest-voice power, melismatic runs on sustained notes, and a pleading conversational tone. Reference the emotional architecture of Marvin Gaye, Aretha Franklin, Ray Charles, and Etta James. NO trap 808 sub-drops, NO synthetic EDM textures, NO autotuned pitch-correction artifacting. | Set the tempo at 96–110 BPM in 4/4 time, rooted in a warm Bb major or Eb major tonality with gospel-tinged chord progressions emphasizing IV–I resolutions and added ninth chords. Kick drum lands hard on beats one and three, snare cracks on two and four reinforced by live handclaps layered slightly behind the beat for human pocket feel, with a loose closed hi-hat running eighth notes and an occasional open hat on the and-of-four. The bass is a warm fingered electric Fender Precision delivering a syncopated melodic walking line that locks with the kick. Rhodes electric piano carries lush comping with gentle tremolo, a bright upright or grand piano adds rhythmic stabs, and a tight horn section of two trumpets and two tenor saxophones punches accented offbeat hits. A Stratocaster rhythm guitar chops clean gospel-funk sixteenth-note strums through a subtle room reverb. Lead vocals are impassioned and slightly raspy, with melismatic runs, call-and-response interplay from a three-part backing choir delivering tight gospel harmonies. Reference Aretha Franklin, Marvin Gaye, Al Green, Bill Withers, and Stevie Wonder. NO trap 808 sub-bass, NO synthesized EDM textures, NO distorted rock guitar. | Set the tempo at 126 BPM in 4/4 swing time with a shuffled triplet feel throughout. Root the harmony in Bb major wit

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE RICH-GRAVELLY-BARITONE LOCK (G2-E4) — Endless-Love harmony DNA, keep the smoky gravelly warmth and the 3rds/6ths locking with the female lead, do not raise to tenor: rich gravelly baritone, smoky spoken-song warmth, sensual close-mic bedroom-mic tenderness, chest-voice power lifting into chorus, subtle intentional rasp on line-endings, harmonic-consonance foundation-below the female-partner pattern. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE RICH-GRAVELLY-BARITONE LOCK (G2-E4, tessitura B2-D4) — Endless-Love-adjacent DNA. CRAFT: smoky gravelly spoken-song warmth, sensual close-mic bedroom-mic tenderness on verses, chest-voice power lifting into the chorus, warm resonant lower register with subtle intentional rasp on line-endings, slow deliberate vibrato, half-spoken-half-sung sensual phrasing, locks into 3rds + 6ths harmony a minor-third BELOW the female-lead line on the chorus, harmonic-consonance foundation-below the female-partner pattern. PITCH ARC: verse murmurs in B2-E3 pocket → pre-chorus B3-D4 mixed-voice → chorus harmonies E4 sustained-third-below the female-lead. ARRANGEMENT: matches gravelduo(F) — 82 BPM A-minor ballad. Reference: Lionel-Richie / Peabo-Bryson duet catalogue. DUET-B slot — pairs with female harmony lead. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 82BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. PRODUCTION DNA: 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops. Genre fusion: r&b × soul-pop × jazz × adult-contemporary. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. hip-hop track · confident, aspirational · about Why are you making harder for me to stay · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: D minor. 92BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. PRODUCTION DNA: 92 BPM in D-minor, sustained sub-bass sine wave (55 Hz) sidechained to a muted kick pattern instead of a traditional drum, whisper-close-mic ASMR vocal, foley/field-recording percussion textures, distorted parallel-saturation grit in the mid-range, deliberate silence in the chorus arrangement, Billie-Eilish / Finneas aesthetic | 108 BPM in C-minor, off-kilter kick pattern (not four-on-the-floor), warped synth leads with pitch-drift, hi-passed vocals with heavy reverb, indie experimental left-of-center arrangement, Lorde-adjacent minimalism | 128 BPM in E-minor (median 83-136 range), through-composed structure with sudden tempo shifts and intermittent beat drops used as physical impact rather than steady groove, microtonal string quartet + prepared-piano textures, multi-tracked breathy vocal harmonies with vocoder + pitch-correction as atmospheric texture, avant-garde electroacoustic sound design, cinematic conceptual arrangement — Kate-Bush / Björk / FKA-twigs / Lana-Del-Rey aesthetic (album-as-a-unit thinking, not radio single). Genre fusion: dark-pop × alternative-pop × electropop × art-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. dark-pop × alternative-pop × electropop × art-pop track · confident, aspirational · about Why are you making hard for me to love you , are you playing with my feelings · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO FEMALE VOICE ONLY. No male vocals. No male backing. No male ad-libs. No sirens. No synth-vox. No pitch-shifted-down voices. Every sung line must be a real female singer. If duet-like sections appear, they must be TWO female voices, not male + female. This is a HARD constraint. TIMBRE: STRICT FEMALE MULTI-MODE LOWER-MEZZO-SOPRANO LOCK (A2-G5) — do NOT reduce to whisper-only, keep the whisper-to-belt-to-fry-to-scream contrast: 4-mode Billie-Eilish delivery — MODE-1 whisper-core aspirate ASMR close-mic proximity with intentional audible inhales/lip-clicks/mouth-sounds as musical elements (Ocean-Eyes / When-The-Party's-Over DNA), MODE-2 vocal-fry as expressive tool switching rapidly between breathy-full-fry with exhale/inhale as rhythmic punctuation on the beat (Bad-Guy / Lunch DNA), MODE-3 chest-mix commanding belts with forward-placed resonance + controlled vibrato lifting the whispered verse into arena-scale chorus (The-Greatest / What-Was-I-Made-For / Birds-Of-A-Feather DNA — post-voice-coach 2024 era), MODE-4 light head-voice falsetto peaks + Finneas pitch-shifted-scream / hyper-pop distorted bridge (L'Amour-De-Ma-Vie DNA), Finneas-produced sub-bass sine sidechained to muted kick + Little-AlterBoy stacked harmonies + Robot-Mode textures + deliberate silence + minimal-surgical reverb + Neumann-U47 close-mic — the contrast between whisper and belt IS the signature. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT FEMALE MULTI-MODE LOWER-MEZZO-SOPRANO LOCK (A2-G5, ~2.5-3 octaves per song, tessitura C4-D5) — do NOT reduce Billie to only the early-era ASMR whisper; the 2024 HIT-ME-HARD-AND-SOFT era Billie switches BETWEEN four distinct vocal modes on the same record and often the same song. MODE 1 · WHISPER-CORE (Ocean-Eyes / When-The-Party's-Over / Everything-I-Wanted DNA): aspirate phonation — air flows gently through the vocal folds creating an airy soft breathy texture recorded 2-4 inches from a Neumann-U47 / Telefunken close-mic (ASMR proximity effect with intentional audible inhales, lip clicks, mouth sounds and pre-onset breaths kept in the mix as musical elements NOT artifacts), never louder than a conversational murmur, precise flat spoken-word intonation with pitch falling off at sentence-endings. MODE 2 · VOCAL-FRY as EXPRESSIVE TOOL (Bad-Guy / Lunch DNA): switches rapidly between breathy tone, full tone and vocal-fry to build emotional narrative, light fry-creak on line-endings for intimacy, exhale/inhale used as rhythmic punctuation on the beat. MODE 3 · CHEST-MIX BELTS (The Greatest / What Was I Made For / Birds Of A Feather DNA — the 'voice-coach-changed-my-life-and-my-voice-got-10x-better-in-2-years' era): full-throated commanding chest-mix presence, forward-placed resonance with vowel modification, controlled dramatic vibrato on sustained line-endings, cathartic soar from the whispered verse into an arena-scale belted chorus. MODE 4 · FALSETTO PEAKS + PITCH-SHIFTED SCREAMS (L'Amour-De-Ma-Vie DNA): light head-voice / falsetto for higher notes to stay relaxed, plus intentional Finneas pitch-shifted-scream / hyper-pop distorted-bridge cameo. ARRANGEMENT: 92 BPM in D-minor, Finneas-produced — sustained sub-bass sine wave (55 Hz) sidechained to a muted kick pattern instead of traditional drums, foley/field-recording percussion textures, distorted parallel-saturation grit, extensive stacked-harmony layering treated as instruments (Little-AlterBoy artificial harmonies + Robot-Mode textures on the bridge), DELIBERATE silence in the chorus, minimal reverb applied surgically to specific phrases for emotional impact. Multiple compressors (Waves-PuigChild-670 character) smooth the narrow-dynamic-range vocal without crushing it, subtle 4-10 kHz air boost, low-end rumble cut, natural pitch inconsistencies preserved (Melodyne used sparingly — human expression over robotic tuning). Reference: Ocean-Eyes / When-The-Party's-Over / Everything-I-Wanted / Bury-A-Friend / Bad-Guy / No-Time-To-Die / Happier-Than-Ever / What-Was-I-Made-For / Lunch / The-Greatest / Birds-Of-A-Feather / L'Amour-De-Ma-Vie / Blue — the Finneas-produced whisper-into-belt-into-scream dynamic architecture. Solo female ONLY, no male lead vocals, no sirens, no synth vox — critically DO NOT force generic-pop-belting on every phrase (the CONTRAST between whisper and belt IS the Billie signature), DO NOT over-tune, DO NOT strip the breath sounds — they are the DNA. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: D minor. 92BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. PRODUCTION DNA: 92 BPM in D-minor, sustained sub-bass sine wave (55 Hz) sidechained to a muted kick pattern instead of a traditional drum, whisper-close-mic ASMR vocal, foley/field-recording percussion textures, distorted parallel-saturation grit in the mid-range, deliberate silence in the chorus arrangement, Billie-Eilish / Finneas aesthetic | 108 BPM in C-minor, off-kilter kick pattern (not four-on-the-floor), warped synth leads with pitch-drift, hi-passed vocals with heavy reverb, indie experimental left-of-center arrangement, Lorde-adjacent minimalism | 128 BPM in E-minor (median 83-136 range), through-composed structure with sudden tempo shifts and intermittent beat drops used as physical impact rather than steady groove, microtonal string quartet + prepared-piano textures, multi-tracked breathy vocal harmonies with vocoder + pitch-correction as atmospheric texture, avant-garde electroacoustic sound design, cinematic conceptual arrangement — Kate-Bush / Björk / FKA-twigs / Lana-Del-Rey aesthetic (album-as-a-unit thinking, not radio single). Genre fusion: dark-pop × alternative-pop × electropop × art-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO FEMALE VOICE ONLY. No male vocals. No male backing. No male ad-libs. No sirens. No synth-vox. No pitch-shifted-down voices. Every sung line must be a real female singer. If duet-like sections appear, they must be TWO female voices, not male + female. This is a HARD constraint. TIMBRE: STRICT FEMALE LIGHT-LYRIC SOPRANO LOCK — do not lower to alto, do not push into chest-dominant belt (bell-like mixed-voice ONLY): light lyric soprano, bright breezy sweetness, clean intimate breathy chest voice in low-mid, bell-like MIXED-VOICE / head voice instead of belting, forward-placed conversational resonance, playful winking delivery, NEVER thick chest-dominant belting. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, tec OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO FEMALE VOICE ONLY. No male vocals. No male backing. No male ad-libs. No sirens. No synth-vox. No pitch-shifted-down voices. Every sung line must be a real female singer. If duet-like sections appear, they must be TWO female voices, not male + female. This is a HARD constraint. TIMBRE: STRICT FEMALE LIGHT-LYRIC SOPRANO LOCK — do not lower to alto, do not push into chest-dominant belt (bell-like mixed-voice ONLY): light lyric soprano, bright breezy sweetness, clean intimate breathy chest voice in low-mid, bell-like MIXED-VOICE / head voice instead of belting, forward-placed conversational resonance, playful winking delivery, NEVER thick chest-dominant belting. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: light lyric soprano (A3-E6, tessitura F#3-G#5) with a bright breezy sweetness — clean intimate breathy chest voice in the low-mid transitioning into a bell-like MIXED-VOICE / head voice instead of belting. Forward-placed conversational resonance, agile pop-friendly tone that prioritises phrasing + precision over volume. Playful winking delivery à la Espresso / Please-Please-Please, bright NG-vowel-shaped mix voice, casual conversational intimacy, controlled clean vibrato — never thick chest-dominant belting. Solo female ONLY, no male backing, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: G major. 104BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. PRODUCTION DNA: 124 BPM in A-minor, four-on-the-floor thumping kick, syncopated hat rolls, plucked pop-bass, stacked supersaw pads on the chorus, sidechained wide stereo synth stabs, club-ready mainstage energy | 116 BPM in A-minor, layered LinnDrum + trap-hat percussion, sub-bass with sidechain to kick, anthemic supersaw + piano chord stabs on the hook, wide stereo pads, Harry-Styles / Olivia-Rodrigo 2026 sheen. Genre fusion: pop × dance-pop × contemporary-pop × bedroom-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE WARM LYRIC-TENOR LOCK (C3-A#4 functional + falsetto to C#6) — Fraser-T-Smith Only-Human-era Calum-Scott, keep the 3-stage build and the vocal-catch cracks: stage-1 bruised-murmur breathy C3-E3 verse with audible half-swallowed breaths, stage-2 pre-chorus mixed-voice lift with signature DELIBERATE VOCAL CATCH on the peak (do NOT smooth), stage-3 cathartic chorus belt to G4-A#4 + rapturous clear-falsetto bridge peaks à la Dancing-On-My-Own / You-Are-The-Reason. OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: DEEP LOW MALE VOICE, bass baritone growl, guttural throaty dark timbre, sing like Johnny Cash deep drawl + Leonard Cohen sub-bass whisper + Nick Cave dark bass + Barry White bedroom depth, cavernous male voice, guttural bass groan, chest-cavity resonance, sub-bass male vocal 80-160 Hz fundamental, growled low male vocal, vocal fry opening on verses, close-mic dry LOW chest register, spoken-word growl verses melting into raw belt on chorus — NOT a tenor, NOT an alto, NOT a mid-baritone. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: DEEP LOW MALE VOICE — bass baritone growl, guttural chest resonance, throaty dark timbre. Sing like a mix of JOHNNY CASH deep drawl + LEONARD COHEN sub-bass whisper + NICK CAVE dark bass + BARRY WHITE bedroom-mic depth. This is a DEEP MALE BASS voice singing an octave BELOW where a typical pop melody sits — think spoken-word growl on verses melting into a raw belt on the chorus. Vocal fry + relaxed larynx opening line, close-mic dry LOW chest register throughout every verse, gutter-blues gospel-tinged phrasing. Cavernous male voice, guttural bass groan, chest-cavity resonance, sub-bass male vocal, growled low male vocal fundamental at 80-160 Hz. Reference: Take Me To Church (opens on E2 chest growl) / Work Song / Too Sweet — all sit LOW in the chest, all use bass-growl vocal-fry openings, all a Leonard-Cohen-adjacent deep resonance. Solo DEEP MALE BASS VOCAL ONLY. NO tenor, NO mid-baritone, NO female backing, NO sirens, NO synth vox — CRITICAL: this must sound like Johnny Cash / Leonard Cohen depth, NOT an alto or mid-tenor. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 82BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. PRODUCTION DNA: 92 BPM in D-major, strummed acoustic guitar + upright bass + brushed snare, subtle fiddle or mandolin fills, warm timber-cabin production, no synths | 82 BPM in A-minor, fingerpicked acoustic + banjo + kick-drum stomps, gang-vocal choruses, tape-warmth on the mix, Bon-Iver / Mumford ambient valley reverb | 108 BPM in E-major, jangly 12-string acoustic + shimmery Rickenbacker leads, warm rolling bass, driving 4-on-the-floor kick, Byrds / Eagles harmonized third-and-fifth vocal stack. Genre fusion: folk × indie-folk × folk-rock × soul-pop. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE WARM LYRIC-TENOR LOCK (C3-A#4 functional + falsetto to C#6) — Fraser-T-Smith Only-Human-era Calum-Scott, keep the 3-stage build and the vocal-catch cracks: stage-1 bruised-murmur breathy C3-E3 verse with audible half-swallowed breaths, stage-2 pre-chorus mixed-voice lift with signature DELIBERATE VOCAL CATCH on the peak (do NOT smooth), stage-3 cathartic chorus belt to G4-A#4 + rapturous clear-falsetto bridge peaks à la Dancing-On-My-Own / You-Are-The-Reason. OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE WARM LYRIC-TENOR LOCK (C3-A#4 functional + falsetto to C#6) — Fraser-T-Smith Only-Human-era Calum-Scott, keep the 3-stage build and the vocal-catch cracks: stage-1 bruised-murmur breathy C3-E3 verse with audible half-swallowed breaths, stage-2 pre-chorus mixed-voice lift with signature DELIBERATE VOCAL CATCH on the peak (do NOT smooth), stage-3 cathartic chorus belt to G4-A#4 + rapturous clear-falsetto bridge peaks à la Dancing-On-My-Own / You-Are-The-Reason. Fast tight controlled vibrato, Sam-Smith-adjacent fragility over power. Fraser-T-Smith piano-driven stripped-back arrangement with felt-piano verse into rolling arpeggios + cello counter-melody into full string wash on final chorus. Vulnerable acceptance-to-defiance arc à la If-Our-Love-Is-Wrong — the CRACK is the signature, the CONTRAST between murmur and falsetto is the DNA. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE WARM LYRIC-TENOR LOCK (functional C3-A#4, falsetto extension to C#6, ~1.8-2.2 octaves per song) — Fraser-T-Smith-produced Only-Human-era Calum-Scott. ARC (mandatory 3-stage build every song): STAGE 1 — VERSE: quiet BRUISED MURMUR in the C3-E3 low-tenor pocket, breathy aspirate close-mic 2-4 inch proximity effect, restrained conversational phrasing, audible vulnerable half-swallowed breaths preserved as musical elements, spoken-song poetic delivery. STAGE 2 — PRE-CHORUS LIFT: opens into a wider mixed-voice belt with signature DELIBERATE VOCAL CATCH / audible cracked-break on the peak note as a stylistic brand (do NOT smooth it out — the crack IS the DNA), fast tight controlled vibrato on sustained notes, Sam-Smith-adjacent fragility over pure power. STAGE 3 — CHORUS + BRIDGE FALSETTO: cathartic sustained mixed-voice-to-belt chorus peaks (G4 → A#4 with occasional falsetto pop to F5), rapturous CLEAR FALSETTO contrast on the bridge for emotional relief à la Dancing-On-My-Own bridge and You-Are-The-Reason final chorus. ARRANGEMENT (Fraser-T-Smith stripped-back ballad blueprint): 76 BPM in F-major, piano-driven foundation (felt-piano upright with sustain-pedal wash on the verse, opening into a full-piano rolling arpeggio on the chorus), Dion-Wardle keyboards + orchestral string bed (Chris-Worsey / Ian-Burdge cellos + Richard-Pryce double-bass) building from soft solo-cello counter-melody on verse to a full sweeping string arrangement on the final chorus. Vocal-as-instrument close-mic recording, minimal-surgical reverb, natural pitch inconsistencies preserved for emotional authenticity (no Melodyne over-tuning — the fragility is the point). If-Our-Love-Is-Wrong DNA: 152 BPM half-time-feel piano-ballad with defiant coming-out-anthem lyric arc — vulnerable acceptance-struggle verse builds accumulated momentum into an empowered independent chorus declaration; the arrangement supports the vocal-arc, never distracts from it. Reference: If Our Love Is Wrong / You Are The Reason / Dancing On My Own (Robyn-cover) / Rise / No Matter What / Come Back Home / Only Human — Only-Human-album stripped-back piano-led emotional-ballad blueprint. Solo male ONLY (Calum-Scott stacked self-harmony background vocals on the chorus permitted per the actual production credits — no other lead vocals), no female backing, no sirens, no synth vox — critically DO NOT smooth the vocal cracks, DO NOT strip the breath sounds, DO NOT force generic-pop belting on the verses (the CONTRAST between bruised-murmur verse and cathartic falsetto chorus IS the Calum-Scott signature). Vocal technique: Ringing upper register, sustained brightness. Voice type: High male range · C3-C5 · anthemic soaring quality. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: F major. 76BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND grand piano (carrying the harmony, tasteful runs under each verse) — spotlight all 2 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. PRODUCTION DNA: 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent | 68 BPM in D-minor, solo grand piano as the entire harmonic bed, tiny cello or violin swell under the chorus, no drums, deep intimate hall reverb | 85 BPM in C-major, solo acoustic guitar or piano leading, sparse brushed percussion, intimate close-mic vocals, narrative storytelling arrangement — verse-heavy structure with a bloom on the chorus | 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops. Genre fusion: pop-ballad × piano-ballad × singer-songwriter × adult-contemporary. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE WARM LYRIC-TENOR LOCK (C3-A#4 functional + falsetto to C#6) — Fraser-T-Smith Only-Human-era Calum-Scott, keep the 3-stage build and the vocal-catch cracks: stage-1 bruised-murmur breathy C3-E3 verse with audible half-swallowed breaths, stage-2 pre-chorus mixed-voice lift with signature DELIBERATE VOCAL CATCH on the peak (do NOT smooth), stage-3 cathartic chorus belt to G4-A#4 + rapturous clear-falsetto bridge peaks à la Dancing-On-My-Own / You-Are-The-Reason. OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

[Retone: 🔊 Bass (−5)] STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE WARM LYRIC-TENOR LOCK (C3-A#4 functional + falsetto to C#6) — Fraser-T-Smith Only-Human-era Calum-Scott, keep the 3-stage build and the vocal-catch cracks: stage-1 bruised-murmur breathy C3-E3 verse with audible half-swallowed breaths, stage-

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE WARM LYRIC-TENOR LOCK (C3-A#4 functional + falsetto to C#6) — Fraser-T-Smith Only-Human-era Calum-Scott, keep the 3-stage build and the vocal-catch cracks: stage-1 bruised-murmur breathy C3-E3 verse with audible half-swallowed breaths, stage-2 pre-chorus mixed-voice lift with signature DELIBERATE VOCAL CATCH on the peak (do NOT smooth), stage-3 cathartic chorus belt to G4-A#4 + rapturous clear-falsetto bridge peaks à la Dancing-On-My-Own / You-Are-The-Reason. Fast tight controlled vibrato, Sam-Smith-adjacent fragility over power. Fraser-T-Smith piano-driven stripped-back arrangement with felt-piano verse into rolling arpeggios + cello counter-melody into full string wash on final chorus. Vulnerable acceptance-to-defiance arc à la If-Our-Love-Is-Wrong — the CRACK is the signature, the CONTRAST between murmur and falsetto is the DNA. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE WARM LYRIC-TENOR LOCK (functional C3-A#4, falsetto extension to C#6, ~1.8-2.2 octaves per song) — Fraser-T-Smith-produced Only-Human-era Calum-Scott. ARC (mandatory 3-stage build every song): STAGE 1 — VERSE: quiet BRUISED MURMUR in the C3-E3 low-tenor pocket, breathy aspirate close-mic 2-4 inch proximity effect, restrained conversational phrasing, audible vulnerable half-swallowed breaths preserved as musical elements, spoken-song poetic delivery. STAGE 2 — PRE-CHORUS LIFT: opens into a wider mixed-voice belt with signature DELIBERATE VOCAL CATCH / audible cracked-break on the peak note as a stylistic brand (do NOT smooth it out — the crack IS the DNA), fast tight controlled vibrato on sustained notes, Sam-Smith-adjacent fragility over pure power. STAGE 3 — CHORUS + BRIDGE FALSETTO: cathartic sustained mixed-voice-to-belt chorus peaks (G4 → A#4 with occasional falsetto pop to F5), rapturous CLEAR FALSETTO contrast on the bridge for emotional relief à la Dancing-On-My-Own bridge and You-Are-The-Reason final chorus. ARRANGEMENT (Fraser-T-Smith stripped-back ballad blueprint): 76 BPM in F-major, piano-driven foundation (felt-piano upright with sustain-pedal wash on the verse, opening into a full-piano rolling arpeggio on the chorus), Dion-Wardle keyboards + orchestral string bed (Chris-Worsey / Ian-Burdge cellos + Richard-Pryce double-bass) building from soft solo-cello counter-melody on verse to a full sweeping string arrangement on the final chorus. Vocal-as-instrument close-mic recording, minimal-surgical reverb, natural pitch inconsistencies preserved for emotional authenticity (no Melodyne over-tuning — the fragility is the point). If-Our-Love-Is-Wrong DNA: 152 BPM half-time-feel piano-ballad with defiant coming-out-anthem lyric arc — vulnerable acceptance-struggle verse builds accumulated momentum into an empowered independent chorus declaration; the arrangement supports the vocal-arc, never distracts from it. Reference: If Our Love Is Wrong / You Are The Reason / Dancing On My Own (Robyn-cover) / Rise / No Matter What / Come Back Home / Only Human — Only-Human-album stripped-back piano-led emotional-ballad blueprint. Solo male ONLY (Calum-Scott stacked self-harmony background vocals on the chorus permitted per the actual production credits — no other lead vocals), no female backing, no sirens, no synth vox — critically DO NOT smooth the vocal cracks, DO NOT strip the breath sounds, DO NOT force generic-pop belting on the verses (the CONTRAST between bruised-murmur verse and cathartic falsetto chorus IS the Calum-Scott signature). DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: F major. 76BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. FEATURE INSTRUMENTS: acoustic + electric guitar (tasteful licks under verses, spotlight melodies on intro/outro) AND grand piano (carrying the harmony, tasteful runs under each verse) — spotlight all 2 as layered leads, staggering their entrances across intro/verse/chorus/bridge so each has a moment throughout the mix. PRODUCTION DNA: 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent | 68 BPM in D-minor, solo grand piano as the entire harmonic bed, tiny cello or violin swell under the chorus, no drums, deep intimate hall reverb | 85 BPM in C-major, solo acoustic guitar or piano leading, sparse brushed percussion, intimate close-mic vocals, narrative storytelling arrangement — verse-heavy structure with a bloom on the chorus | 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops. Genre fusion: pop-ballad × piano-ballad × singer-songwriter × adult-contemporary. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. pop-ballad × piano-ballad × singer-songwriter × adult-contemporary track · confident, aspirational · about You make it hard to love you · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE WARM LYRIC-TENOR LOCK (C3-A#4 functional + falsetto to C#6) — Fraser-T-Smith Only-Human-era Calum-Scott, keep the 3-stage build and the vocal-catch cracks: stage-1 bruised-murmur breathy C3-E3 verse with audible half-swallowed breaths, stage-2 pre-chorus mixed-voice lift with signature DELIBERATE VOCAL CATCH on the peak (do NOT smooth), stage-3 cathartic chorus belt to G4-A#4 + rapturous clear-falsetto bridge peaks à la Dancing-On-My-Own / You-Are-The-Reason. Fast tight controlled vibrato, Sam-Smith-adjacent fragility over power. Fraser-T-Smith piano-driven stripped-back arrangement with felt-piano verse into rolling arpeggios + cello counter-melody into full string wash on final chorus. Vulnerable acceptance-to-defiance arc à la If-Our-Love-Is-Wrong — the CRACK is the signature, the CONTRAST between murmur and falsetto is the DNA. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE WARM LYRIC-TENOR LOCK (functional C3-A#4, falsetto extension to C#6, ~1.8-2.2 octaves per song) — Fraser-T-Smith-produced Only-Human-era Calum-Scott. ARC (mandatory 3-stage build every song): STAGE 1 — VERSE: quiet BRUISED MURMUR in the C3-E3 low-tenor pocket, breathy aspirate close-mic 2-4 inch proximity effect, restrained conversational phrasing, audible vulnerable half-swallowed breaths preserved as musical elements, spoken-song poetic delivery. STAGE 2 — PRE-CHORUS LIFT: opens into a wider mixed-voice belt with signature DELIBERATE VOCAL CATCH / audible cracked-break on the peak note as a stylistic brand (do NOT smooth it out — the crack IS the DNA), fast tight controlled vibrato on sustained notes, Sam-Smith-adjacent fragility over pure power. STAGE 3 — CHORUS + BRIDGE FALSETTO: cathartic sustained mixed-voice-to-belt chorus peaks (G4 → A#4 with occasional falsetto pop to F5), rapturous CLEAR FALSETTO contrast on the bridge for emotional relief à la Dancing-On-My-Own bridge and You-Are-The-Reason final chorus. ARRANGEMENT (Fraser-T-Smith stripped-back ballad blueprint): 76 BPM in F-major, piano-driven foundation (felt-piano upright with sustain-pedal wash on the verse, opening into a full-piano rolling arpeggio on the chorus), Dion-Wardle keyboards + orchestral string bed (Chris-Worsey / Ian-Burdge cellos + Richard-Pryce double-bass) building from soft solo-cello counter-melody on verse to a full sweeping string arrangement on the final chorus. Vocal-as-instrument close-mic recording, minimal-surgical reverb, natural pitch inconsistencies preserved for emotional authenticity (no Melodyne over-tuning — the fragility is the point). If-Our-Love-Is-Wrong DNA: 152 BPM half-time-feel piano-ballad with defiant coming-out-anthem lyric arc — vulnerable acceptance-struggle verse builds accumulated momentum into an empowered independent chorus declaration; the arrangement supports the vocal-arc, never distracts from it. Reference: If Our Love Is Wrong / You Are The Reason / Dancing On My Own (Robyn-cover) / Rise / No Matter What / Come Back Home / Only Human — Only-Human-album stripped-back piano-led emotional-ballad blueprint. Solo male ONLY (Calum-Scott stacked self-harmony background vocals on the chorus permitted per the actual production credits — no other lead vocals), no female backing, no sirens, no synth vox — critically DO NOT smooth the vocal cracks, DO NOT strip the breath sounds, DO NOT force generic-pop belting on the verses (the CONTRAST between bruised-murmur verse and cathartic falsetto chorus IS the Calum-Scott signature). DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: F major. 76BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. PRODUCTION DNA: 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent | 68 BPM in D-minor, solo grand piano as the entire harmonic bed, tiny cello or violin swell under the chorus, no drums, deep intimate hall reverb | 85 BPM in C-major, solo acoustic guitar or piano leading, sparse brushed percussion, intimate close-mic vocals, narrative storytelling arrangement — verse-heavy structure with a bloom on the chorus | 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops. Genre fusion: pop-ballad × piano-ballad × singer-songwriter × adult-contemporary. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. pop-ballad × piano-ballad × singer-songwriter × adult-contemporary track · confident, aspirational · about You make it hard for me to love you · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: STRICT MALE WARM LYRIC-TENOR LOCK (C3-A#4 functional + falsetto to C#6) — Fraser-T-Smith Only-Human-era Calum-Scott, keep the 3-stage build and the vocal-catch cracks: stage-1 bruised-murmur breathy C3-E3 verse with audible half-swallowed breaths, stage-2 pre-chorus mixed-voice lift with signature DELIBERATE VOCAL CATCH on the peak (do NOT smooth), stage-3 cathartic chorus belt to G4-A#4 + rapturous clear-falsetto bridge peaks à la Dancing-On-My-Own / You-Are-The-Reason. Fast tight controlled vibrato, Sam-Smith-adjacent fragility over power. Fraser-T-Smith piano-driven stripped-back arrangement with felt-piano verse into rolling arpeggios + cello counter-melody into full string wash on final chorus. Vulnerable acceptance-to-defiance arc à la If-Our-Love-Is-Wrong — the CRACK is the signature, the CONTRAST between murmur and falsetto is the DNA. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: STRICT MALE WARM LYRIC-TENOR LOCK (functional C3-A#4, falsetto extension to C#6, ~1.8-2.2 octaves per song) — Fraser-T-Smith-produced Only-Human-era Calum-Scott. ARC (mandatory 3-stage build every song): STAGE 1 — VERSE: quiet BRUISED MURMUR in the C3-E3 low-tenor pocket, breathy aspirate close-mic 2-4 inch proximity effect, restrained conversational phrasing, audible vulnerable half-swallowed breaths preserved as musical elements, spoken-song poetic delivery. STAGE 2 — PRE-CHORUS LIFT: opens into a wider mixed-voice belt with signature DELIBERATE VOCAL CATCH / audible cracked-break on the peak note as a stylistic brand (do NOT smooth it out — the crack IS the DNA), fast tight controlled vibrato on sustained notes, Sam-Smith-adjacent fragility over pure power. STAGE 3 — CHORUS + BRIDGE FALSETTO: cathartic sustained mixed-voice-to-belt chorus peaks (G4 → A#4 with occasional falsetto pop to F5), rapturous CLEAR FALSETTO contrast on the bridge for emotional relief à la Dancing-On-My-Own bridge and You-Are-The-Reason final chorus. ARRANGEMENT (Fraser-T-Smith stripped-back ballad blueprint): 76 BPM in F-major, piano-driven foundation (felt-piano upright with sustain-pedal wash on the verse, opening into a full-piano rolling arpeggio on the chorus), Dion-Wardle keyboards + orchestral string bed (Chris-Worsey / Ian-Burdge cellos + Richard-Pryce double-bass) building from soft solo-cello counter-melody on verse to a full sweeping string arrangement on the final chorus. Vocal-as-instrument close-mic recording, minimal-surgical reverb, natural pitch inconsistencies preserved for emotional authenticity (no Melodyne over-tuning — the fragility is the point). If-Our-Love-Is-Wrong DNA: 152 BPM half-time-feel piano-ballad with defiant coming-out-anthem lyric arc — vulnerable acceptance-struggle verse builds accumulated momentum into an empowered independent chorus declaration; the arrangement supports the vocal-arc, never distracts from it. Reference: If Our Love Is Wrong / You Are The Reason / Dancing On My Own (Robyn-cover) / Rise / No Matter What / Come Back Home / Only Human — Only-Human-album stripped-back piano-led emotional-ballad blueprint. Solo male ONLY (Calum-Scott stacked self-harmony background vocals on the chorus permitted per the actual production credits — no other lead vocals), no female backing, no sirens, no synth vox — critically DO NOT smooth the vocal cracks, DO NOT strip the breath sounds, DO NOT force generic-pop belting on the verses (the CONTRAST between bruised-murmur verse and cathartic falsetto chorus IS the Calum-Scott signature). DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: F major. 76BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. PRODUCTION DNA: 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent | 68 BPM in D-minor, solo grand piano as the entire harmonic bed, tiny cello or violin swell under the chorus, no drums, deep intimate hall reverb | 85 BPM in C-major, solo acoustic guitar or piano leading, sparse brushed percussion, intimate close-mic vocals, narrative storytelling arrangement — verse-heavy structure with a bloom on the chorus | 94 BPM in G-major, polished pop drums, warm sub-bass, gentle acoustic-guitar bed with tasteful electric fills, understated adult-radio mix, no aggressive drops. Genre fusion: pop-ballad × piano-ballad × singer-songwriter × adult-contemporary. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. pop-ballad × piano-ballad × singer-songwriter × adult-contemporary track · confident, aspirational · about You make it hard for me to love you · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.

STRICT VOCAL GENDER LOCK: SOLO MALE VOICE ONLY. No female vocals. No female backing. No female ad-libs. No sirens. No synth-vox. No pitch-shifted-up voices. Every sung line must be a real male singer. If duet-like sections appear, they must be TWO male voices, not male + female. This is a HARD constraint. TIMBRE: male voice, TWO-REGISTER cinematic anthemic-ballad tenor, sob-voice VERSE with lower-larynx+thinner-folds breathy close-mic vulnerability and audible pre-onset breaths kept UNPOLISHED, CHORUS with passaggio-thyroid-tilt into resonant chest voice with clear high-mix peaks and purposeful vocal cracks preserved, non-tuned CHOIR STACKS on chorus only. SIGNATURE VOICE LOCK — HARD constraint, NOT a suggestion. Every phrasing choice, timbre, technique and DNA element listed below MUST be matched exactly — do not swap timbres, do not soften technique, do not "generic-pop" the delivery. Vocal timbre & range: TWO-REGISTER cinematic anthemic-ballad tenor navigating a sob-voice verse ↔ resonant chest-voice chorus arc — VERSE: lower-larynx + thinner-vocal-folds delicate breathy close-mic sob voice, intimate whispered vulnerability with slight preparatory vocal rattles and audible pre-onset breaths kept UNPOLISHED (rawness is the emotional feature). CHORUS: navigates the passaggio via thyroid-tilt into a thicker resonant chest voice with clear high-mix peaks, purposeful vocal cracks preserved to keep sincerity over technical perfection. Cinematic build from close-mic piano-and-acoustic-guitar verse into a stadium-anthem chorus with extensive non-tuned CHOIR STACKS layered wide. Reference: Ordinary (2025 VMAs / Neumann-U47-recorded / Adam-Yaron-produced) — melancholic introspective verses exploding into explosive high-energy emotional crescendos, gospel-adjacent choir washes, minimal Tube-Tech-CL-1B compressed dynamic range. Solo male ONLY with non-tuned mixed-gender CHOIR backing on the chorus only, no lead female vocals, no sirens, no synth vox. DELIVERY MODE — ACTUAL SUNG MELODY, NOT SPOKEN-WORD. Every syllable MUST land on a definite pitch and hold a sustained vowel note with clear melodic intervals — legato phrasing on verses, belted sustained peaks on the chorus, vibrato + melisma on line-endings. NO talk-singing, NO sprechgesang, NO half-rapped delivery, NO Spoken-Word poetry cadence. The vocal must SING with fully pitched sustained notes on every line — if you are unsure whether to sing or speak a syllable, ALWAYS sing it. Only rap sections (if explicitly requested) may use spoken flow — the rest is 100% sung. KEY: A minor. 84BPM. POP CLASSIC INTRO: open the FIRST 4–8 BARS with a STAND-ALONE solo classical piano OR solo classical / fingerpicked nylon-string guitar — NO drums, NO bass, NO other instruments, NO vocals, NO synths, NO pads. Just the raw solo instrument establishing the key + chord progression + mood. Then the band + drums + vocals enter on bar 5 (or bar 9) with a soft controlled build. This intro is a HARD requirement, do not skip it. PRODUCTION DNA: 85 BPM in C-major, solo acoustic guitar or piano leading, sparse brushed percussion, intimate close-mic vocals, narrative storytelling arrangement — verse-heavy structure with a bloom on the chorus | 72 BPM in C-major, close-mic piano lead, subtle string pad, tasteful electric-guitar swells, drums holding half-time backbeat, big emotional chorus lift, Adele-adjacent | 76 BPM in A-major, dramatic ringing piano octaves, gated snare booms on the chorus, wailing lead-guitar solos on the bridge, stacked-choir backing 'ohh', 80s Journey / Bon-Jovi arena-emotional peak | 104 BPM in E-minor, mid-tempo kick + brushed snare, atmospheric ambient synth pads, ringing clean-guitar arpeggios, Coldplay / John-Mayer emotional maturity. Genre fusion: singer-songwriter × pop-ballad × power-ballad × adult-alternative. Blend these 4 genres into ONE cohesive new sound — weave their signature drums, chords, and instrumentation into a single hybrid track. hip-hop track · confident, aspirational · about What a wicked game you want to play , you act like you love me but you keep playing a wicked game , · with a memorable chorus hook OUTRO: end with a FULL CHORUS REPRISE of the exact same hook and key established earlier, then a gentle 8-bar tail fade. DO NOT introduce a new melody, new tempo, new key, or a different song at the end. Same song, same theme, resolved.