'Processes

**Thought about the seeds of pursuing the studio degree of now; recalling the iHop congregation
in 2021, late night where Trey was still with Kaitlyn but in a contentious state, where I showed
my passengers (people in the Focus? Must be years ago) Repudilation's 'Purging Of Impurity'. The
reaction was positive save for Trey's, whose reservation was about the production and "nonexistent
guitar tone"; this was the formative Strobel v. Hughes production trial where he conflated
convention with merit and I failed to articulate what desirability there was in the era's method's
recording means concerning the atmosphere and global/individual facets of the sound. Essentially
I argued too much for the objective merits of the guitar sound alone without bothering to explore
the drums conversationally, its coaxis and especially not the greater weighted attributes (song
structure and dramatization of staccato palm mute pit riffs), not that mentioning those related
topics would've skewed the debate in my favor, just that they would've provided insight where there
was little at the time. My curiosities about cassette recording existed then and may just have
begun to heat up/steam - it wouldn't be for another two years that I'd really turn my attention
to mastering and mediums, as well as the question of analog and digital mixing; the encapsulative
process (there it is!) and how it colors sonic produce in discrete and non-discrete ways. For
example, the presence of four tracks on the demo - this is a convention of demos that I had
possessed an affinity for despite not being etimologically concerned with its parameters, the
number four and the fact of the fidelity being worse - each of these pointing to cassette
considerations or outright consequence. But even greater than the technological aspect, something
Trey has discounted the appeal of, there's the popular 'culture' surrounding metal especially
which is rooted in nostalgia, a culture which I apparently subscribe to despite not necessarily
having claim to, having not been alive during these eras - simply being observient of points
of difference presentationally, stylistically over what then was 25/30 years range and now is to
the tune of 40. Essentially, being hyperenthusiastic for subjective attributes of the production,
while not conducive to productivity, aren't entirely counter to success, not on the fronts identified
by Trey, not unlike a blind man. He argued that I consider if what I wish to implement is in line
with what the audience would appreciate - a retrospectively appreciated thought for having provoked
the ideological fleshing that otherwise wouldn't have occured. Incidentally, it is the very things
I sought to hone which have seen momentary readoption, resorption into the standards of the metal
fringe we then existed in and still bumble about inside. So people would have appreciated my
implementations, but only if they were well executed; this is something I would have fallen short
at, and my reluctance to embarrass myself and my collective is ultimately what embarassed myself
and my collective, but in a less permanent way - I would not have been content to unveil a flawed
production, therefore no such production emerged despite the labors, despite the conversation.

The processes section of sludgeon.com is dedicated to sequential operations which involve
more than one definable action. The greater music-making or video-making process is such a string,
but within