Quotes About Sound

With Whitney she has such a unique sound and powerful instrument that she made those songs her own. She might as well have written them because she brought such a power and passion to them that were very unique. She has a great gift.

I swear, there is Capitol Studios and then there's every other studio on the planet Earth. It is the ultimate, paramount of sound in the United States of America. It is a magical place.

I try to become a singer. The guitar has always been abused with distortion units and funny sorts of effects, but when you don't do that and just let the genuine sound come through, there's a whole magic there.

Automobiles have always been part of my life, and I'm sure they always will be. What is it about them that moves me? The sound of a great engine, the unity and uniqueness of an automobile's engineering and coachwork, the history of the company and the car, and, of course, the sheer beauty of the thing.

It's dangerous to generalise about sound because many of its effects work through association. These can be universal: we all instinctively associate any sudden, unexpected noise with danger and react with a release of fight/flight hormones, while most people find sounds like gentle rainfall or birdsong calming and reassuring.

My style is a very universal sound, which is very close to where I grew up.

Once I should have been, if not satisfied, partially, at least, contented with suffrage for the intelligent and those who have been soldiers; now I am convinced that universal suffrage is demanded by sound policy and impartial justice.

Music dominates the universe. It is the prime force. It has given shape to space.

I thought I wanted to go to drama school or university, and that would have been a completely different life. But what got me was the sound, and hearing it. Hearing everything so loud, I loved that back in the studio. I loved that from the very beginning.

A portal is a transitionary device of sight or sound that functions as a sort of third gravitating body between the this and the that, pulling us toward itself, allowing us to bridge into the unknown from the known.

Ladies of the choir, I want you to sound like twenty-two women having babies without chloroform.

I absolutely hate mowing the lawn. When I hear the mowers starting, I want to kill myself: it's the sound of death approaching. Hoovering's OK, but I never in my life wanted to have a lawn and certainly never wanted to mow one.

That's called a microphone. It's a big sausage that picks up everything you say - and you're starting early.

Anything is food for starting a song. A song can start with a lyric idea or a melody or just a sound that inspires.

Pressure hulls collapse at the speed of sound. Once that starts, you're inside your own little imploding atomic bomb, and you're gone.

I maintain music is not here to make us forget about life. It's also here to teach us about life: the fact that everything starts and ends, the fact that every sound is in danger of disappearing, the fact that everything is connected - the fact that we live and we die.

If you have a great-sounding guitar that's a quality instrument and a good amp, and you know how to make the guitar talk, that's the key. It starts with the guitar and knowing what it should sound and feel like.

There has not been enough clarity over the years in terms of who did what in Boney M but fortunately Frank Farian has since stated that all members of the group could have been replaced except for me. And I like to think that when it comes to the music Liz Mitchell is the sound of Boney M.

Dancing has a continuity of its own that need not be dependent upon either the rise or fall of sound or the pitch and cry of words. Its force of feeling lies in the physical image, fleeting or static.

The first musical sound I ever heard was from a banjo. My father played, and I was an infant in a crib, and something just stayed with me from those early days.

I'm still trying to keep it original, staying true to my sound.

We had a simple 8-track studio set up in the record store where I worked. And just staying after work and experimenting, realizing what was possible with recording - that's why my project was called The Microphones at first. Because it wasn't even songs really. It was just sound.

As a film composer I deal with short bursts of musical ideas that are defined to a large extent by what's happening on the screen, by not only narrative and action, but staying out of the way of dialogue, sound effects.

When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.