Fix what’s wrong, but don’t rewrite what the artist wrote. Stick to the official released version — album booklet, label site, verified lyric video, etc. If you’re guessing, pause and double-check.
Respect the structure
Songs have rhythm. Pages do too. Leave line breaks where they belong. Don’t smash things together or add extra empty space just for looks.
Punctuation counts (but vibe-editing doesn’t)
Correct typos? Yes. Re-punctuating a whole verse because it ‘looks better’? Probably not. Keep capitalization and punctuation close to the official source.
Don’t mix versions
If you’re editing the explicit version, keep it explicit. If it’s the clean version, keep it clean. No mashups.
Let the lyrics be lyrics
This isn’t the place for interpretations, memories, stories, or trivia — that’s what comments are for. Keep metadata, translations, and bracketed stage directions out unless they’re officially part of the song.
Edit lightly
If two lines are wrong… fix the two lines. No need to bulldoze the whole page. Think ‘surgical,’ not ‘remix.’
When in doubt, ask the crowd
Not sure what they’re singing in that fuzzy bridge? Drop a question in the comments and let the music nerds swarm. Someone always knows.
This piece features a Middle Eastern instrument called the Arghoul. The Argoul is a kind of double reed oboe with a mouthpiece made of two pieces of reed. One is used to produce a droning note and the other is pierced with holes to obtain the melodic notes. it is played with a system of continuous respiration that lends a sustaining effect. The Argoul is a very old instrument, having already been in use at the time of the Pharaohs. The additional sub-octave drone was reproduced by Bon Moore at the Sound Lab by means of recording the droning resonance of a Tibetan Brass Bowl on 2-track ½ inch tape at 30 ips and replaying it in a continuous loop at 15 ips. Manually holding and dragging on the tape reel achieved the eerie, pulsating flanging. Recording a small Turkish gong and playing the tape in reverse at half speed similarly achieved the reverse gong. The chanting lyrics are from Spell 31 of the Nectanabus Sarcophagus Text. It is noteworthy for being characteristic of the time period when Graeco-Roman and Mesopotamian influences were being assimilated . By the time of the Greek period of control of Egypt, there had been much adaptation of religious, scientific, cultural and magickal influences from various neighbouring nations. According to Dr. T. Hopfner in his Gritscisch-Aegytischer Offenbarungszauber published in Leipzig 1921, the name "Aat-Ankh-as-en-Amenti" means vaguely, Tomb of eternal life in the Underworld.
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This piece features a Middle Eastern instrument called the Arghoul. The Argoul is a kind of double reed oboe with a mouthpiece made of two pieces of reed. One is used to produce a droning note and the other is pierced with holes to obtain the melodic notes. it is played with a system of continuous respiration that lends a sustaining effect. The Argoul is a very old instrument, having already been in use at the time of the Pharaohs. The additional sub-octave drone was reproduced by Bon Moore at the Sound Lab by means of recording the droning resonance of a Tibetan Brass Bowl on 2-track ½ inch tape at 30 ips and replaying it in a continuous loop at 15 ips. Manually holding and dragging on the tape reel achieved the eerie, pulsating flanging. Recording a small Turkish gong and playing the tape in reverse at half speed similarly achieved the reverse gong. The chanting lyrics are from Spell 31 of the Nectanabus Sarcophagus Text. It is noteworthy for being characteristic of the time period when Graeco-Roman and Mesopotamian influences were being assimilated . By the time of the Greek period of control of Egypt, there had been much adaptation of religious, scientific, cultural and magickal influences from various neighbouring nations. According to Dr. T. Hopfner in his Gritscisch-Aegytischer Offenbarungszauber published in Leipzig 1921, the name "Aat-Ankh-as-en-Amenti" means vaguely, Tomb of eternal life in the Underworld.