Power - The most basic requirement for any of these structures to operate is power. Without supply
of power, electronics are useless. Power is assigned/treated in the same way as every other family/
specifiable family or company of devices as it entails multiple different pieces of equipment and
like everything else is an area that must be considered; i.e. not overloading a conditioner/outlet,
positioning conditioners/distributors in areas in which they are needed, etc.

Performative Drum MIDI - Performed percussion is a different animal than its sterile plotted emulatory
compliment. As of May 2024, with accomodations finally for capturing human percussive performance,
the preferred behavior of tackling composition is in encapsulating a physical performance with a
MIDI recording device (currently using the Roland MC-500 to good effect) and then deriving from that
organic-spirited sequence or combination of sequences the data to loop/structure with the aid of GUI
or GUI-less sequencers.

Programmative Drum MIDI - This approach to curating sequences has been the sole means until just
recently. While there's nothing inherently wrong with simply plotting hits on a grid and trial/
erroring through a song's skeletal system, it isn't the most vision/emotion fulfilling or integral,
or intuitive way. Oftentimes, while I'd end up with a product, I'd feel detached from the sequence
for whatever reason, and it's due to the corruptibility of pure clinical data - without a physiological
clock constraining your rhythm, and especially with easily-edited global parameters like tempo and the
like in these editors, one is likely to forsake the initial feeling of the part, to varying degrees of
dissatisfaction. It still very much holds a place in the studio, however, but it's beginning to be
challenged by its human-dictated counterapproach. The general goal is to utilize the best aspects of
each method synergetically; i.e. enhancing/enriching an intact human pattern with an artificial
compliment, something like rolling hi hats or b-class (non-kit piece) percussive exactions.

Sequenced Bass MIDI - Admittedly, note-sequenced bass isn't something I've practiced since early
last year, which is the approach I was envisioning when I included this function 'class' - the closest
thing to that is utilizing loops of bass performances, most organic, and while that fits in this
family, it feels so removed from the Terry Davis-esque early days I recalled of taking a synthetic
MIDI bass C note, pitching an octave of aliases manually, importing each of the twelve or thirteen
files into the SP-404SX I was using exclusively at the time for sampling tasks (shudder) and then
running it through the Digitech RP-6. What results from that however is transformative and from then
becomes a matter of the next families, 'bass preaudio' and 'bass audio'. What this family does entail
however is like-articles to the percussive MIDI facilitators, which for me is bound to either be a
PC sequencer (Reaper), Atari ST, or if I live long enough to obtain one, an Amiga 500. Distortions of
the transmitted information may be tailored and applied after the station of origin, like a transpose
utility box would be more sensical for this application and a MIDI note delay injector would moreso
suit the percussive siblings.

Bass Preaudio - The individually pitched audio bits derived from the (slap) bass synth patch I
mentioned in the previous function detail count as 'Preaudio' materials for the bass element.
So does the longer form DI recordings from the bass pickup of a real bass; these are 'volatile' or
crude stages of what is to be, after the processes of signal chains. Segregating these from the
later effectations is necessary to circumvent confusion whenever the question of reamping enters the
equation and suddenly Windows PCs running Reaper, USB audio interfaces, reamp boxes, the whole nine
yards are part of the 'Bass Audio' tree.

Bass Audio - The audible bass element, consolidated into a printed tone; everything including and
after the preamplifier and stopping with the cable transporting the final element-pertinent
signal.

Guitar Preaudio - The disclaimers provided in the bass element's equivalent to this are still true
here, although the likelyhood of their deployment here is low. The extent of guitar 'preaudio' will
mostly stay at conventional reamping/realtime unadulterated instrument performances.

Guitar Audio - The audible guitar element, consolidated into a printed tone; everything including and
after the preamplifier and stopping with the cable transporting the final element-pertinent signal.

Manual Trigger MIDI - Initially conceived as the precursor to the now-implemented 'Performative
Drum MIDI', this family now has taken on the non-kitpiece or rhythmic/tempo/cadence-tethered brand
of physically interfaced sample interaction.

Vocal Audio - This class is unique to the bass and guitar elements as while structurally microphones
are pickups and their dry transmissions not immediately suitable, the degree of effectation needed
or even practical is much less. Vocal distortion, external function interaction are anticipated
but will be largely contained within this family, as most of the gadgetry will be unique to these
uses anyway.

Mixing Stage - The point at which the balance between each of the four assigned sonic components
is settled; EQs are present at every stage in the global studio ecosystem, but strips dedicated to
facet interrelationship are found here, as well as mixers assignable to panning jobs or effect
blends.

Editing - Whenever a material is promising but not satisfying, it becomes a sound candidate for
more radical alteration. Say an mp3 demo of a recent effort came out sounding too upbeat - rate &
pitch decrease are processes which can be applied at this stage to salvage a congealed body.

Mastering - Of course, a mixer can only deliver a fixed degree of precision, all things considered.
The mix is certainly the most weight-bearing determiner of the net processes, but even a virtually
flawless mix needs some help before it can smoothly hit airwaves or stereo systems; sculpting of
fine dynamics makes the difference between a complaint and a compliment.

Dubbing - Dubbing is moreso than anything an obsolesced stage in the discussion of music production;
its role within my studio is dual-edged - on one hand its a deliberate and not as-intended utilization
of the equipment, as quality degradation was for so long a point of obsessive prevention; in 2024,
the only reasons producers would re-enlist magnetic tape is to obtain the taken for granted artifacts
of the format. My sole experiment with tape to this point was a mix-aimed application, and it was
successful in adding the flavor inseparable from the mechanisms of tape.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Digital Capture Stage - 

Deliberate Image - Deliberate Images are static, decisive frames which were selected for use in the
visual domain. GIFs also count as Deliberate Images. According to my current state of resource/
experience, the first video projects will rely heavily on these.