One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn’t if you knew better.
It infuriates me that stuff from the Internet routinely doesn’t include all the credits. Because as soon as I listen to something, if I like it, I want to know, “Who’s the bass player?” “Who did that?” “Who’s the engineer on this?
When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn’t expected or predicted by what I supplied.
The vinyl commands a certain kind of reverence because it’s a big object and quite fragile so you handle it rather carefully, and it’s expensive so you pay attention to how it’s looked after.
I think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they’re inclined to encourage that.
One of the things you’re doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.
A responsible designer might try to overcome this limitation – probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.
I can see the use and value of religion, just as I can see the use of mud wrestling, yoga, astronomy and sadomasochism. but I reject the idea that you can’t be a deep human being without it or any of them.
