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There are a lot of little quirks about studio practices, like depending on the, the way the tape machine works, when you start or stop it, it has a distinctive sound that's captured on the recording. Like the sort of starting up or a stopping sound or you know, the tape spooling off the reel, all of those things are kind of failure modes in the studio, but if you've worked in the studio, they become familiar. And I liked the idea of introducing those sounds and those eccentricities into the finished product where normally you would take great pains to avoid having those kind of eccentricities on a record because they were, like I said, they're sort of failure modes. It became a kind of an identifying feature of that record was that the sound of the session underway was part of the record and it sort of became a thing, like a feature of the record was that you could hear the process of making the record and the interaction of the people and the personalities. And I think that's charming and that's the rationale for doing it.

Slabs of com­pute run­ning hot in offices, basements, dorm rooms … not a new thing, exactly, but their capa­bil­i­ties are new — their inhab­i­tants are new — and the whole scene is just great. Exciting and strange. Gleaming and haunted. Pile on the adjectives, the vibes: it’s somehow all richer and weirder than any­body ever dreamed in 1984.

He had a sudden insight, something that many adults in technical cultures never attain. “I use these things all the time, but I don’t know exactly how they work. We can follow these directions, but how would we know what to change?”