A studio is an absolute labyrinth of possibilities - this is why records take so long to make because there are millions of permutations of things you can do. The most useful thing you can do is to get rid of some of those options before you start
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APABrian Eno Quotes. (n.d.). Jar of Quotes. Retrieved , from JarofQuotes.com Web site: https://www.jarofquotes.com/view.php?id=a-studio-is-absolute-labyrinth-possibilities-this-is-why-records-take-long-to-make-because-there-are-millions-permutations-things-you-can-do-the-brian-eno
ChicagoBrian Eno Quotes. Jar of Quotes, 2019. https://www.jarofquotes.com/view.php?id=a-studio-is-absolute-labyrinth-possibilities-this-is-why-records-take-long-to-make-because-there-are-millions-permutations-things-you-can-do-the-brian-eno, accessed .
MLA"Brian Eno Quotes." Jar of Quotes, 2019. . https://www.jarofquotes.com/view.php?id=a-studio-is-absolute-labyrinth-possibilities-this-is-why-records-take-long-to-make-because-there-are-millions-permutations-things-you-can-do-the-brian-eno
The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.
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I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.
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Basically, you're still sitting there using just the muscles of your hand, really. Of one hand, actually. It's another example of the transfer of literacy to making music because the assumption is that everything important is happening in your head; the muscles are there simply to serve the head. But that isn't how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They're using their whole body to make music, in fact.
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When you sing with a group of people, you learn how to subsume yourself into a group consciousness because a capella singing is all about the immersion of the self into the community. That's one of the great feelings - to stop being me for a little while and to become us. That way lies empathy, the great social virtue.
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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?" And it's nearly always a sort of mixed emotion, which is why I like it. It's something that I have mixed feelings about in the sense that it's both, say, placid and dangerous, or bitter and sweet, or dark and bright.
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You just make different music on a computer. And you can make wonderful music on a computer, but don't pretend that the machinery is transparent. It makes as much difference to what you're doing as it does if you play an acoustic guitar as opposed to a kettledrum. You're not going to make the same music.
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In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the - they've had a whole series now of these things called Kaoss Pads. They're wonderful because they do get your muscles working again. And what DJs do, of course, with their DJ turntables now, the CD turntables, which have pitch change and speed change and everything else. They're doing something that I think is interestingly physical.
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