“I’d got all this new technology and we spent a year making the album, programming all these primitive computers. [The LinnDrum] sounded so much like real drums it was difficult to tell it apart. The tempo was absolutely precise because it all ran to a digital clock and the record just was precision itself. It was also very simple. If you actually analyse what was going on at any given moment in time there may be only four or five things going on, but it does the job.”

— Martin Rushent

Serck, Linda, Legendary producer Martin Rushent, 2009, http://www.getreading.co.uk/entertainment/music/s/2061462_legendary_producer_martin_rushent, Get Reading, 6 June 2011

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Martin Rushent8

English record producer 1948–2011

Jean Kerr book Please Don't Eat the Daisies

"How to Get the Best of Your Children"
Please Don't Eat the Daisies (1957)

“We did the ‘unplugged’ project, “Acoustica“, in Portugal. There was always something new and exciting. In-between all these records and projects we’re still touring all over the world: last year, with this latest album, “Unbreakable”, we went back to Japan and played in Scandinavia again; before we come to Tel Aviv, we play in Paris, at “Olympia”; we go back to Russia, we play Kazan, the only show this year with an orchestra; so there’s a lot of things. And that, I think, keeps us going, and the fact that after all these years we have a chance to come and play in Israel is very very exciting and emotional, and it also feels like a new chapter.”

Klaus Meine (1948) German singer

“The album is very different from the all the other albums today. First of all, the album was one year delayed because I wasn’t happy and every time I did an album it was unofficially finished. I had some time to listen to some new songs and plug into some music programs and discovered this new song and delayed the release for a month, because I wanted to update the new tracks to these new sounds I found… so then when I did that all the other songs sounded like crap compared to the new ones! So I said f*** this I need to reproduce the other ones as well. Then I scrapped a few songs and produced new ones. So to produce this album I pretty much produced maybe about 50 tracks and picked out the best of them. You know when you buy an album from a producer/artist, you kind of hear the same sound repeating in each song, you hear the same sound repeating, but this album is like every song is individual. Like you wont find two songs which have the same sound. Each song is completely different which I think kind of represents what I do because I produce everything and I love producing everything. Sometimes I’m in the mood to produce you know a dance song, sometimes I’m in the mood to produce an R&B song, it’s just interesting because I just want to show people that I can deliver to all ears.”

Basshunter Calling Time

Guestlist interview with Ria Talsania (10 July 2013) https://guestlist.net/article/9219/catching-up-with-basshunter Calling Time

“Oh, absolutely, it felt more serious than your typical job. One of the things that got us through how difficult the shooting actually was was that we are telling a real story.”

John C. Reilly (1965) American actor

“Four guys could get together and make their own movie, in a year, but nobody does it 'cause they got bills to pay. What I'm saying is, that's what I would do, if I was young. I wouldn't even get a job. I'd get a couple of computers and a bunch of guys, we'd eat crap for a year, millionaires the next year if we did a good film. It's so extraordinary. Instead of crying about getting a job at Disney or "things are falling apart", things the old animators were doing when I was a kid, "it's all crumbling!" It's not crumbling, you're crumbling! You got these computers that could do this stuff for nothing! What do you do with it? You try to get a job for some asshole studio. It's so dumb.”

Ralph Bakshi (1938) Animator, filmmaker

“When you write a computer program you've got to not just list things out and sort of take an algorithm and translate it into a set of instructions. But when there's a bug — and all programs have bugs — you've got to debug it. You've got to go in, change it, and then re-execute … and you iterate. And that iteration is really a very, very good approximation of learning.”

Nicholas Negroponte (1943) American computer scientist

Nicholas Negroponte: A 30-year history of the future http://www.ted.com/talks/nicholas_negroponte_a_30_year_history_of_the_future, July 2014, TED Talks (about 13:40 into 19:43 video). A 30-year history of the future, TED Talk (2014)

“In general, complexity and precision bear an inverse relation to one another in the sense that, as the complexity of a problem increases, the possibility of analysing it in precise terms diminishes. Thus 'fuzzy thinking' may not be deplorable, after all, if it makes possible the solution of problems which are much too complex for precise analysis.”

Lotfi A. Zadeh (1921–2017) Electrical engineer and computer scientist

Zadeh (1972) "Fuzzy languages and their relation to human intelligence". in: Proceedings of the International Conference Man and Computer, Bordeaux, France. Basel: S. Karger, pp. 130-165. cited in Gaines (1976) "Foundations of fuzzy reasoning" in: International Journal of Man-Machine Studies 8(6), p. 624
1970s

“Every time there's a list of the 100 greatest records of all time, all those albums were recorded in two days. Hardly any of them took a year, I'll tell you. In this day and age, I think it's important that people know that.”

Jack White (1975) American musician and record producer

On why they recorded Elephant in two weeks Perry, Andrew (2004). "The White Stripes uncut" http://observer.guardian.co.uk/omm/story/0,13887,1349947,00.html Observer Music Monthly (accessed June 19, 2007). 2010

“But we all do sort of the same thing and that is rearrange what you thought was real, and, uh, they remind you of the beauty of very simple things. You forget, because you're so busy going from A to Z, that there's, uh, 24 letters in between.”

Grace Slick (1939) American musician, writer and painter

Interview on the History Channel documentary Getting High - The History of LSD, 2001; sampled on Drop Out by Infected Mushroom

“The real problem in speech is not precise language. The problem is clear language. The desire is to have the idea clearly communicated to the other person. It is only necessary to be precise when there is some doubt as to the meaning of a phrase, and then the precision should be put in the place where the doubt exists. It is really quite impossible to say anything with absolute precision, unless that thing is so abstracted from the real world as to not represent any real thing.Pure mathematics is just such an abstraction from the real world, and pure mathematics does have a special precise language for dealing with its own special and technical subjects. But this precise language is not precise in any sense if you deal with real objects of the world, and it is only pedantic and quite confusing to use it unless there are some special subtleties which have to be carefully distinguished.”

Richard Feynman (1918–1988) American theoretical physicist

" New Textbooks for the "New" Mathematics http://calteches.library.caltech.edu/2362/1/feynman.pdf", Engineering and Science volume 28, number 6 (March 1965) p. 9-15 at p. 14 Paraphrased as "Precise language is not the problem. Clear language is the problem."

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Martin Rushent8

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