'features' of the studio;

no input mixing;
	Having been peripherally aware and keen on this technique of creating harsh noise
	since my antimusic scene participation days (2019-2021) owing to a particular
	individual I haven't succeeded in rediscovering (socialist noise, may have 'hate'
	in the name), the inevitable epiphany to use the inexpensive and not wholly viable
	mixer units I'd obtained for this application was surely a referencable moment
	of expansion for me. Integration into the patchbay ecosystem was an initial
	challenge that was beat, and this enabled further milestones to be met in the
	exploration of sidechaining. As is a best case scenario for any of these features,
	no input mixing has demonstrated its intuitiveness and instrumentality in making
	sounds that no other technique can; even with the limited hours of experimentation,
	the fruits thus far show promise in becoming their own project.

*component modularity;
	What is meant here is the material separation between facets, namely sequences
	and sample libraries. There is an asterisk on it, which indicates that this
	feature isn't fully delivered on, as sequences are still volatile - still either
	sessionware (only active during a session and lost whenever the power is lost)
	or at the mercy of harddrive storage.
	I should clarify that harddrive storage is less than ideal in my opinion for
	projects, especially in-utero ones. With modern hard drives being quite expansive
	capacitively, and Reaper project files being 'larger' than is desirable, or even
	simply aesthetically/order of operation-ally cumbersome, storage on physical media
	isn't trivial and depending on how johnny-on-the-spot you are with consistent/
	effective file naming, quite prone to obscurity by way of file overpopulation/
	confusion/user exaspiration (breakdown of enthusiasm for adhering to this approach
	to storage/development).

dual guitars;
	The doubling up of guitars is something that has its personal roots considerably
	deep in my musical lineage, for lack of a better term. The stages of development,
	the bodies I've assumed from 2016 to now constituting ancestory to my current being,
	were early on made privy to the practice of double tracking. And since the great
	complication in the form of DAW apathy and deprecation of its role within a now
	retrograde decentralist ecosystem of devices, it has been something I've downplayed
	the integrality of; I'd readily cite recordings from the 1980s as case in points to
	support this attitude, but even with this excusatory defense I do still possess
	some measure of affinity for the cascading of two guitar performances, even moreso
	with the distinction of separately deduced tonalities.

clean guitars+treated guitars;
	The first time I heard the term 'treated' in relation to guitars was in reading
	the liner notes of an Equations Of Eternity CD - the adjective is intriguing as
	it likens the component to something industrious/procedural versus intrinsic as
	most releases let off. The timing of this small discovery/foray into dub awareness
	and appreciation was serendipitous as it was a high point of modular thinking, as
	in desiring to completely explode the various sonic layers, guitars and bass
	especially within my architectures; this particular description expanded or
	reinforced what I'd imagined doing to the elements, things like finishing and
	stripping, thinning and embossing - audio equivalents to manufacturing concepts.
	Clean, or undistorted, guitars are not something I indulge myself in - I've perhaps
	played 99.9% of the time with acute distortion active, so whenever I began hearing
	non-metallic strings reappearing in contemporarily inspiring music, the thought
	precipitated to accomodate for exploration within this antiquated style. And with
	some experimentation with expression pedals and their placements in the signal
	chain, the list of ideas has grown respecting the augmentation of resources.

synth + midi controller;
	Keyboards is an instrument I have no proficiency at; having acquired one in 2021,
	I have spent some time attempting to increase skill through improvisation, through
	playing along with songs and figuring them out by ear, etc. Alas, there still is
	no refinedness, but that isn't a shame - moreso than any other instrument, the black
	and whites represent a utility; they are the most straightforward medium via
	which to control instruments, as MIDI controllers. Any awe or performance coaxable
	from them is an added bonus.

electronic drums;
	Occupying a similar space that the keyboards do functionally, the expansion to
	include playable drums is distinct in that it was intended from the start as a
	vase inside which to invest time and effort, a means to develop a skill. It
	is similar to the keyboards in that the drum pads and more specifically the tool
	which converts the electrical pulses into MIDI information is a MIDI governor, so
	to speak - you can speak things into being through your physical input.

sidechaining (vocals,drums) (origin, 2021);
	Certainly among the more exciting territories of personal discovery for me as
	it was a successful stumbling from independent concept into awareness of existence,
	and then into practice. I would cite the density of Mortician's Domain Of Death
	album as a driver into the seeds of wanting a way to saturate/reinforce a stream
	with 'additives', be it white noise or a persistent sample. While I haven't used
	it yet for this initial intent meaningfully, I have demonstrated it and it certainly
	works/would achieve the envisioned effect. And deployed conjunctively to effects
	loop vintriloquy, a result even denser than Domain Of Death is certainly attainable.

sketching (AKAI DR4d);
	Hard disk recorders