The plan going forward is to approach Mondays through Thursdays and Fridays through Sundays as two
distinct hemispheres of the most obvious division which governs our lives, the week. Still embroiled
in the erection of this studio, an embroilment I'm sure will continue for years to come, I'm racing
at the current time to solve the main issue preventing legitimate operation, which is the mounds
of cabling strewn about - I can deal with leftover objects like keyboards and apparatuses like
switchers and mixers, but not delicate things like the imperative power supplies and interconnects
in the dozens and hundreds littering multiple regions of the floor; what I've done is order three
rack drawers of reasonable capacity with the intention of wrapping these cables up individually,
bagging them, and storing them in this handleable state inside these positionable depositories.
I'm being careful not to become disillusioned by solely aesthetic dissatisfactions, like the
unsymmetricalness of the layout which is the result of over two years of experience and applied
thought. Week by week and month by month, I've been securing infrastructural components as well as
musical and technical articles that will expand my ability set upon returning to production - the
most recent of which being peripherals for a spectrum (audio) analyzer unit; compatible printers to
be specific. I poached an Epson thermal receipt printer after tests with pre-possessed examples
failed, and while the unit sends print jobs and the Epson honors them, it was clear quickly that
the intended pairing was not a receipt printer, but instead something Epson-branded which did A4.
I have a later-era dot matrix Epson en route, and I'm optimistic about being able to produce the
desired (continuous) graphical representations of frequency profiles. While its intuitive to me
the purposes and practicalities of procuring these projections, to explain my embracing of this
process, I'll gesture to equalization and how it is in my view the most significant parameter of
not just sound, but everything else as well. 'Equalization' properly refers to the manipulation of
frequencies in a controlled and deliberate setting; audio is the primary domain. But the tenets of
adjusting incrementally the constituents of a greater signal, or image, are liberating to me - its
a powerful position artistically, facilitatively to govern things in high resolution. Where some
people prefer to micromanage people, I enjoy to use tools and meters and spare myself and others
the waste. And the object of the studio I funnel every dime I earn into is to posit a swathe of
specialized devices and device trees into a greater ecosystem - one that is operationally satisfying
(inspiring). I view the current standard of laptop-plus-software as being ideally perfect but
pragmatically barren; a homogenous desktop environment with a small compliment of applications is
no fulfilling reflection of one's own individuality as I believe a production environment should be,
no, has to be. And while I acknowledge that true expression is executed through these channels by
talented creators every day, I assert that such a reality is not feasible for me. No, it is the
eccentricities of my DAW-void, studio monitor-void tempest from which I get inspiration -
interacting with objects, faders(somewhat), knobs(somewhat), strings, buttons, setting into motion
disruptions and resumptions in the physical medium is the difference between sex with or without
a condom. I'm pondering a convergence of my paused telephone affinity with this frequency measurement
and facsimilating wing; organizationally, it makes sense, and so too does it in other respects, so
I'm sure I'll begin moving soon to join them. What I'm compelled to begin metering as well is
something conventional actually, which is my use of linear time; a four-month dry erase calendar/
planner is, along with a coffee maker and the reintroduction of a minifridge, my idea of grabbing
the passage of time by its reins and making it serve me, instead of redirecting me to the premise
of discipline and failing me time after time now. This is my idea of discipline - accomodating
myself with resources to enable productive behaviors. This is the foundation of everything I
mentioned earlier, with the vague 'specialized devices/device trees' bit - I saw the utilization
of an Atari ST, I decided to obtain one. I saw the utilization of a Sony PCM-501ES, I obtained one.
While it is surely materialistic, I've abandoned through time the desire to approximate the
vibrational - I am content to exchange money for these articles which do not expire. While the
future is uncertain and forecasts always certify only negatives, I'm of the persuasion that physical
possessions are a safe bet for persisting indefinitely (~40 years).
	I glanced down at a 4U drawer situated beneath the Tascam 4x CD duplicator portion of the
CD manufacturing assembly I've got going and it occured to me again to fill it with blank jewel
cases (occupied with blank unprinted discs) with the spines upward; perhaps within the same drawer,
different case types and colors could be contained, and depending on run size or length or whatever
determining factor, these alternatives could be picked, printed and populated. I had previously
been thinking about ordering two more of the *24U Griffin angle racks and was exploring the decaying
thoughts about what to occupy them with; the spectrum analyser/telephony rig? A simple array of
drawers containing cables? On par with the first idea is the CD and/or cassette manufacturing
"kiosk" which would contain a printer, a supply drawer, the 4x duplicator, dual cassette deck(s)
and additional pieces. Many possibilities, and I'm nearly certain that I'll be committing to the
order within the month, but what seriously motivated me to ammend this entry was the occurence to
stockpile image resources and textile orientation templates, and utilize randomized combinations
to get a cover. With an elegant algorithm and form-leveraging titles populating scheme, the affairs
of recording a sonic work, finalizing it, affixing a visual compliment, manufacturing it and
disseminating it could all be done within the span of a couple hours. How would that be against
languishing in indecision and hesitance for years? The answer is infinitely superior - the only
caution would be to vet the music effectively before the notarial crimping; employing the 'regular'
approach I'd been using which revolves around filling to capacity a 540 Mb card in MP3 format
(equalling somewhere just short of six hours), use of the calendar and studious adherence to
creative regularity would offer to bale a realistic two week span of work into something parable
to one through a selecting session. The idea of churning out something every two weeks is insane
to myself and to others as well, but with the devices for arbitrational ergonomics, its completely
within reach.
	On my drive to the airport today (8/23), I was thinking about mixing; I have a round metal
pin for my buddy's band Gristle lodged in the ceiling of my Ford Focus positioned just next to the
sun shield, and I glanced at it as I do from time to time out of randomly occurring perception. Upon
looking at it, I reflected on the mixing of its album, a task I handled myself - my activities are
now quite reduced even from the minimally existent capacity I occupied in 2021, and its followed a
steady decline each year. Early 2024 is when I took on the project, and over the span of an evening
I was able to get something that satisfied myself and my colleague using stock Reaper plugins, some
intuition, a dark control room and little else. But these days, the process I followed for it
wouldn't satisfy the demands I have now for an environment - I object to the mechanics of DAWs which
behave differently than hardware examples, their retentions of things like channel gain
impregnate false notions as with a real mixer, you won't get a one-for-one product from boosting
the signal with gain versus a fader. So what was on my mind as I pulled up to the destination was
how I would go about fabricating a hardware mixing suite - I thought about having multiple EQs in
an ergonomic position next to... what would need to be next to those? Apart from needing to sum
the components into some mixdown, the EQs and their volume controls would do much of what I did
on 'Pain', sans a little reverb and the pitch shifting I applied to the bass track. I feel that a
rudimentary rack mixer would suffice well, being the unitor of the equalisation feeds and point of
balance of any reverb, pitch or distortion effects. The next area of consideration is what article
should be used for playback of the multitrack? Even someone as inconsiderate of efficiency as myself
would object to track-for-track transferral to a hard disk recorder just to escape the instruments
of modernity for too brief a moment, so I'd need to compromise and use a computer with a DAW and
an interface supporting several independent outputs. Or I could look at a multitrack CD workstation
which may be made convenient in the event I could simply utilize a computer strictly for obtaining
and burning the provided tracks onto a medium (like a multitrack CD) and continue computerlessly,
utilizing the workstation as a simultaneous playback instrument. I would be quite content to do the
latter though I doubt multitrack CD is something prevalent enough to be able to simply create one
nonchalantly with a Windows PC. So what about a compromise - a racked PC (footprint is typically
14U) complete with capable audio interface, connected via patchbay runs a utilitarian DAW program
for the purpose of outputting multiple independent audio tracks. This is around 16Us of real estate
and the remainder, the bits which will be interacted with, can fit within another 16. My local
guitar shop had four or so identical 2U dual channel dbx equalizers that were appealing - too bad
each were $150; but had I necessitated $680 on some EQs, I'd have eight channels in an 8U bracket.
Eight more spaces for a mixer (6U remaining), pair of effects units (4U remaining), compressor
(2U remaining) and/or spectrum analyzer and mastering destination.
	This exercise in concision (designing a hypothetical system to occupy a limited space) is
all the more useful to myself in 2025 than it would have been for me in 2021; I now have all the
equipment detailed in the bill of materials - the only obstacle to building it is my own constructed
mental blockades; not wanting to disrupt the existing configuration that has 15 possible EQ channels,
13 effects unit candidates, plenty of compression/sidechaining/distortion options and so on. And
I can still pull from this perhaps overgrown ecosystem the same results on account of the listed
devices all being present and more; what is sacrificed however is simplicity, utilitarianism.
Instead of having everything contained within wingspan, its exploded and elevator trips (not really)
and swivel chair scooting voyages are required for each step of engagement. My rectifier for this
lessened immediacy is procedure narration; a text-to-speech voice will dictate the necessary actions
whenever it has been communicated that the action has completed or a predetermined duration of time
has elapsed. Staying focused in this multifangled setting has proven difficult over time, and
my habits certainly steepen the slope of objective evasion - such as being compelled to change a
background video or album stream, answer an instant message, close tabs that are causing the system
to respond sluggishly and in the dozens of seconds of idleness losing the sense of urgency and
becoming concerned instead with whatever subjects of the tabs I intended to close but are now weighing
the consequences of closing it and potentially not revisiting the subject. From what I detail, the
computer is a central source of derailment, but while that is the case, it is the core of productivity
too. Being specific, its a contemporary computer that introduces a still body of water's potentials
to focus. Listening to music can be and often is distracting, listening to content or video essays is
even moreso to the point that writing/composition is impossible, listening to ASMR is an expressway
to exhaustion, and without any of these, there's no incentive - no presence. Its an incredibly thin
line to toe between peripherally stimulating and overbearing, but a headphone/speaker hybrid dares
to cancel out the ills of singular source monolithicness and multiple-source ambience, where the
brain, instead of potentially becoming bored or overinvested in the sole stream of information in
the form of an articulate voice, is able to haphazardly adjoin (pleasingly dissonant) a whispered and
fleeting voice (ASMR, behaving like pink noise for the subconscience) with something like music or a
clearly speaking narrator, where the transients of words are dullened somewhat by the auxilliary
static and the brain feels less abraised, poked by the discussion or unfurling topic's tambres,
textures, consonants and vowels.

That idea might actually have even more practical effects, such as establishing some continuity between the music scene I used to contribute to. The music will be much different but there still will be a carryover appeal. Maybe even more appeal than death metal or goregrind; if we make some really interesting sounding shit, that has higher potential than even the stankiest fart-bubbles-in-the-bath goregrind.

So in effect, think of Last Days Of Humanity style cover art on CD and Cassette (digital will likely be censored, but I'm not too worried there - its an opportunity in itself to just make the image really small, or hide it behind a QR code, or squash it into a thin line like Earache did with Reek Of Putrefaction).