No, they're right. Your description is what you get from outsiders who don't understand what they're seeing.

In a creative process, when you really know your tools, you start being able to go from thought to result without really having to think about the tools. The most common example when it comes to computers would be touch-typing - when your muscle memory gets so good you don't think about the keyboard at all anymore, your hands "know" what to do to get your thoughts down. But for those of us with enough experience in the programming languages and editor/IDE we use, the same thing can happen - going from thought to code is nearly effortless, as is reading code, because we don't need to think about the layers in between anymore.

But this only works when those tools are reliable, when we know they'll do exactly what we expect. AI tooling isn't reliable: It introduces two lossy translation layers (thought -> English and English -> code) and a bunch of waiting in the middle that breaks any flow. With faster computers maybe we can eliminate the waiting, but the reliability just isn't there.

This applies to music, painting, all sorts of creative things. Sure there's prep time beforehand with physical creation like painting, but when someone really gets into the flow it's the same: they're not having to think about the tools so much as getting their thoughts into the end result. The tools "disappear".

> Other times, I make music because I like the feeling of turning a knob, and striking keys at just the right moment, and it gives me a feeling of satisfaction.

But I'll bet you're not thinking about "I like turning this knob" at the moment you're doing it, I'll bet you're thinking "Increase the foo" (and if you're like me it's probably more liking knowing that fact without forming the words) and the knob's immediate visceral feedback is where the satisfaction comes from because you're increasing the foo without having to think about how to do it - in part because of how reliable it is.