Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing – ‘Oh, let’s put that sentence there, let’s get rid of this’ – have become commonplace in films and music too.
When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they’re not obvious at the time. So, when I look back at my own work.
Quite often, and in fact more often, I would say, I’m struggling all the way through to think, “What is it I like about this? What is the personality of this thing I’m hearing that I like so much?”
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.
Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.
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.
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.
