Quotes About Sound

It's ahead of us. All I can tell you is, not even courage will help." "Are you reading Alma Mahler again?" "No." Her voice was even and knowing. The underground river. The ceiling lowers, grows wet, the water rushes into darkness. The air becomes damp and icy, the passage narrows. Light is lost here, sound; the current begins to flow beneath great, impassable slabs.

She preferred to lie up by the dunes with the waves bursting, to listen while they crashed like the final chords of a symphony except they went on and on. There was nothing as fine as that.

ta-pocketa, ta-pocketa

ta-pocketa-pocketa-pocketa-pocketa-pocketa.

Soon now, the faint tinkling of a broken filament will become another sound of another century.

The natural healing of sound can happen also when you do such a simple thing as listen to the rain. You do not need drugs, hypnotism, or even meditation. You only need to allow and direct the freedom of your conscious mind. Left alone, it will flow through thoughts and images that provide their own therapy.

And the deep thrumming of the forest that too many people mistake for silence.

echo, the death of a sound that had nowhere to go but to come back.

The sound of her laughter was sticky as sap, the smell of night-blooming jasmine soft as a milk bath.

Unlike so many other sounds, there's no maximum exposure to birdsong.

One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have their own logic.

Most of us walk around with our ears switched off because so much noise is unpleasant.

Madrid's anarchy can make planning difficult: they're unpredictable. But if you can be defensively sound and use the ball well, making the most of the space they leave, you can do them damage.

With a computer, you have access to so many drum sounds and samples that your snare drum will be unrelated harmonically to your kick drum.

That's the thing I like about my sound. It's real raw and very unsafe compared to a solid state kind of sound.

Since light travels faster than sound, some people appear to be bright until you hear them speak.

The basic notion was the idea that the loudspeaker should have a voice which was unique and not just an instrument of reproduction, but an instrument unto itself.

The sound levels on stage were so loud with all that constant banging and smash, smash, smash; it did untold damage to the fine nerve endings in the inner ear, though it is worse in the left, which is the side of my snare drum and the monitor.

I got into dub a long time ago. I was into dub before I even had any interest in reggae or Jamaican songs, Bob Marley, or any of those established artists. I just thought it was such an unusual sound.

I like jazz, and Martin Taylor and his band have it all, including a wonderful saxophonist and very fine accordionist, so you get a rather unusual range of sound.

Noise is the number one problem in modern offices. A big part of addressing this issue is making sure unwanted sound from adjacent spaces doesn't intrude or interfere.

Capitol Records were very keen for me to write and see how I got on; I think that is what defined my sound. The first session I had was with two young up-and-coming writers, Nick Atkinson and Tom Wilding, and I went into a session a bit nervous because I hadn't written that many songs before.

There's this bubblegum pop thing which is prevalent now that we haven't had before. People's ears are slightly de-tuned; they've been exposed to this weird synthetic, implausibly upbeat, Mickey Mouse stuff which I think is just weird; it's not really a human sound.

I remember, for my fifth birthday, Chet Baker sat me on the upright piano, and he played just for me for a few minutes. I can still remember the pressure of the air on my chest. It was my first physical contact with sound.