Wall of Sound but Phil came along and took these to make sounds that had not been used in the past. I thought it was ingenious." During the mid-1950s, Spector worked with Brill Building songwriters Jerry Leiber and Mike Stoller during a period where they sought a fuller sound by the use of excessive instrumentation, using up to five electric guitars and four percussionists. This was later to evolve into Spector's Wall of Sound, which Leiber and Stoller consider to be very distinct from what they were doing, stating: "Phil was the first one to use multiple drum kits, three pianos and so
Weil pairing on the "n"-torsion. The Weil pairing does not extend to a pairing on all the torsion points (the direct limit of "n"-torsion points) because the pairings for different "n" are not the same. However they do fit together to give a pairing "T"("E") × "T"("E") → "T"(μ) on the Tate module "T"("E") of the elliptic curve "E" (the inverse limit of the ℓ-torsion points) to the Tate module "T"(μ) of the multiplicative group (the inverse limit of ℓ roots of unity). For abelian varieties over an algebraically closed field "K", the Weil pairing is a nondegenerate pairing for all "n"