Sample 'Far In Out' for the newest Kyonshi song (k07).

The latest objective of mine is one you would've thought I'd realized by now. Well not
fully until this point have I recognized the simplicity of the patchbay, and how it
should be treated/devices organized. The reason you have two tiers is to differentiate
between inputs and outputs; ins top and outs bottom. A standard patchbay can accomodate
24 devices, if each possessed one input and one output. The number rises if the devices
you connect are unidirectional. Another overdue perspective on my end is that these bays
should be viewed as the center of a studio - had I said this to my former self I
would'nt have known what I was talking about, so I will elaborate - most studio
equipment possesses at least one of these three connections - RCA, 1/4 in and XLR.
Well not until today have I had to work an XLR device into the fold, and it was quite
the nightmare, exposing just how impotent I can be in times of uncertainty.

Idea respecting pairings between intros and introless musical pieces; a randomized
playlist queue between materials of both groups is initiated and listened to until a
suitable match is found. Another recent experiment which bore some fruit is taking
dry-sounding recordings and running them into a line-level mixer with a wet-dry balance,
allowing you to blend in a textural effect (like reverb) to add excitement to the
dynamics of the recording. At time of writing I'm capturing all cataloged pieces on
Sludgeon.com being given this treatment - once everything is fully run, the recording
will be capped and next CDUMP cycle will yeild all of these to-be-evaluated iterations.
The idea of storing various iterations of the same source material, whether it be a song,
loop, isolated sample, etc. is central to the envisioned workflow in the planned personal
web-interface DAW.

Remix ideas: Essentially re-record the Withered Fabrication songs from the ground up,
enabling access to the individual tracks to chop up into loops; where Trey's action
is needed is supplying the vocal files. Once the materials have been accrued, the
process of constructing the remixes is quite similar to the sampler jam workflow -
just sequence random shit until something resonates with you and guide development from
there. On the flipside, there's the Croc material, which I'm planning on basing around
the OG intro samples as many of them possessed a staying quality to them if not entirely
appropriate to the aesthetic.