Any Constraint Is Part Of The Skeleton

I Think That's Very Significant That We're So Attached To The Idea Now Of - It Was Something I Advocated For Years, That You Can Make Music In Studios, Music Doesn't Have To Be Made As A Real-time Experience. But Now You See The Results Of That In People Who Are Completely Crippled Unless They Know That They Have The Possibility Of "cut And Paste" And "undo." And "undo" And "undo" And "undo" And "undo" And "undo" Again.

I Thought It Was Magic To Be Able To Catch Something Identically On Tape And Then Be Able To Play Around With It, Run It Backwards; I Thought That Was Great For Years.

You Feel As If You're Not Living A Full Life. Which, Of Course, Is Why - It's My Theory About Why So Many People Who Are Heavily Into Computers Are Also Into Extreme Sports And S&m. It's Because Their Bodies Are Crying Out For Some Kind Of Action.

If You Think Of The Way A Composer Or Say A Pop Arranger Works - He Has An Idea And He Writes It Down, So There's One Transmission Loss. Then He Gives The Score To A Group Of Musicians Who Interpret That, So There's Another Transmission Loss. So He's Involved With Three Information Losses. Whereas What I Nearly Always Do Is Work Directly To The Sound If It Doesn't Sound Right. So There's A Continuous Loop Going On.

Being Completely Free To Choose What To Do Is Actually Quite Difficult