with "outbursts of anarchy" from Bruford, Howe, and Wakeman and disagreement from each member after one mix of a song section was complete. Welch sensed that the band were not a cohesive unit, with Anderson and Howe the only ones who knew what direction the album was to take, leaving the rest adding bits and pieces "to a vast jigsaw of sound", to which Squire and Offord were the two who helped put their idea into shape. Wakeman and Bruford, to Welch, remained "innocent bystanders" in the matter. In one instance, Welch arrived at the studio to hear a preview of a completed passage that took several days of round-the-clock work to produce. He heard a dull thud, to find that Offord had fallen asleep on top of the mixing console from exhaustion, "leaving music from the spinning tape deck blaring at an intolerable level". Howe later disagreed with Welch's description, and said his report might have been based on Bruford's comments at the time. Howe said that the main source of tension was between Squire and Bruford, particularly when Squire suggested that Bruford alter his drumming to accommodate bass parts that Squire wanted to play. Bruford found Close to the Edge particularly difficult to write and record with the rest of the band, calling the process torturous and like "climbing Mount Everest". He became frustrated with the band's happy, diatonic music and favoured more jazz-oriented and improvisational compositions. This became an issue with the group's way of composing and recording, as each section of a track was played through and discussed section by section. Bruford said: "Every instrument was up for democratic election, and everybody had to run an election campaign on every issue. It was horrible, it was incredibly unpleasant, and unbelievably hard work". Squire became a growing source of discontent for Bruford, citing his frequent lateness for rehearsals and his way of working. In one instance, Bruford fell asleep on a sofa in the studio control room while Squire was "poring over a couple of knobs on the [mixing] desk" to determine how much equalisation should be applied to his bass tracks, only to wake up several hours later, finding Squire "in the same place, still considering the relative position of the two knobs". Bruford was constantly encouraged by Anderson to write, something he felt grateful for years later, but by the time recording was complete, he