Quotes About Sound

When I was a little boy, there was no sound in the movies.

I'm not a country picker, really - I like a nice, beefy, raunchy sort of sound.

My family is out of the ordinary in our physical lifestyle and the day-to-day things that we deal with, but my approach to them is pretty rational and sound. And I'm the quiet one! It's very different from my performing life.

The phrase 'off with the crack of the bat', while romantic, is really meaningless, since the outfielder should be in motion long before he hears the sound of the ball meeting the bat.

Like the ancient Silk Road itself, 'The Sound of Silk' will make the foreign familiar while challenging long-held notions of identity and our place in the world.

I just love how everyone with that Motown sound seemed to come from a two-block radius from the actual original location. The original location was a house, and then when they outgrew it, they bought the house next door and the house next door and the house next door until they had seven houses on the same lot.

I like that kind of classic-type sound. A lot of my favorite albums were tracked live, with a four-piece band. I love the way those albums sound, but I want to make records that sound like that in the way I like to make stuff.

I know guys in my hometown that drive by feel and sound.

For me it's always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it's always sound first and then the line afterwards.

The atmosphere defines the environment of sound.

That Mississippi sound, that Delta sound is in them old records. You can hear it all the way through.

Fifth Harmony is an entity or identity outside all of us, and I don't think anybody felt individually represented by the sound - we didn't make it.

It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument.

Marimba is much more of a wood-type experience and there is no real possibility of getting a dry sound, and getting that contrast in the same way that you can in a vibraphone.

As a musician, I have always strived for my albums and live performance to render a sound as close as possible to perfection.

You have to have a certain amount of grit in your sound, and having real synths and talking certain elements outside your computer can help with this.

On the musical side, I always wanted to kind of carry on Pink Floyd's sound. You know, Pink Floyd always had such an original, creative and masterful sound, but there are no new albums. My thought was that there's a way to keep their sound alive.

She was a performance artist calling herself Lady Gaga, who had a European dance-club sound and pop-star aspirations - elements that historically haven't mixed.

To capture sound is to isolate a moment, canonize it, enter it into the historical register.

I really wanted people just to get to know Solange on my first album, just to establish Solange's sound, just to establish Solange's personality.

I didn't know what kind of sound I wanted to make. I didn't have no influences. I just heard my voice in the microphone and was like, damn, I like that.

Look closely, and you can see where the grooves of a record widen, indicating a sparseness that can only be a bass solo, or grow denser to accommodate a cresting density of sound.

I'm an overall sound fighter, a boxer-puncher.

You get a heck of a sound from the church. Can't you hear it in my voice?