Quotes About Sound

I just love crafting and shaping sounds. Actually, many of the sounds that I work with start off as organic instruments - guitar, piano, clarinet, etc. But I do love the rigidity of electronic drums.

I've learned that there's a signature Metallica sound, and if we stray too far from that, our fans get impatient, or they just don't understand, or they miss the point. And I'm not saying that's a good thing or a bad thing; it's just something we have to contend with.

Composition gives proper meaning to the natural streams of sound that penetrate the world.

I'm not really into alternative country - I'm into Patsy Cline, who lived down the street from where I lived, and old Dolly Parton records, Kitty Wells and that old stuff. I like country music. I also like Eric Church, who has a great new sound but also holds onto that old sound.

I'll continue to advocate for a responsible federal budget that strengthens our national security and puts our future generations on fiscally sound footing.

Without our natural soundscape, we are making ourselves tired, stressed, and frightened all at the same time.

I try not to take any liberties when it comes to being factual. Sometimes you have to, just to make the song sound good. But I feel like, personally, if you've lived it, then you shouldn't stretch the truth. It should be that experience.

'Auto Music' isn't a pop record by any stretch.

People say I sound a lot like the Ramones and it's probably because I'm influenced by the same '60s groups, but I was never a strict Ramones fan.

We want our audience to enjoy themselves, we want every gig to feel like an event - of course there are musical elements of rave to our sound, but we wouldn't strictly classify ourselves as that.

Anything you strike, anything you shake or rattle, or just anything that can be picked up, and you can create a sound.

I think when I began, I played distortion more than the guitar. The results of my strumming. Now I play the twang of the string, which is a lot closer to the source of the sound making.

I never use pull-offs because I don't like the sort of 'meow' sound they make with the string being deflected sideways.

Roots' was the first album on which I recorded a berimbau. After that, I recorded it a bunch for Soulfly and other projects. I really enjoy the instrument even though it's only one string. It's really unique-sounding. It's very striking, and you know right away that it's a berimbau - it's one of a kind.

I don't believe that heavy strings make it all that much bigger-sounding. If anything, it can mess up your fingers, and you can get tendonitis, which is not cool.

When I saw the Penderecki concert in London, in '92 or '93, I thought there were speakers in the room. It was just strings. But I could hear these kind of buzzings and rumblings, and I was like, 'Where is this all coming from?' And that was just better, to my ears. Odder, stranger, more magical.

I like the sound of a Silvertone amp for myself. It's kind of cleaner guitar sounds when necessary, maybe a little less metal-sounding. But it really doesn't matter what amp I play through; it's really the way I voice chords and play guitar, how I strike the strings.

'Psycho' is probably the best known example of a horror film whose exclusive sound was strings, and since then, it's been hard to avoid that. The minute you have strings as your primary voice, the comparisons are always made.

When I first started experimenting with harmonics, I'd sometimes hook up two distortion boxes just to get my strings 'frying,' which helped bring out the harmonics.

It's amazing how well real strings blend with metal, like that whole sound.

I'm inspired by artists who use a limited palette, like painter Piet Mondrian, and the White Stripes, two musicians who create an incredible sound. Our food is starting to go back to a 'less is more' style.

What I really love about the Bay area sound is that it's very unique and that's something I want to strive for, as an artist. It's easy to get caught up in what's trending, but Bay area rap stays true to the local sound.

I think that the things that are interesting sometimes, when you're striving for a sound, you just get it wrong 'cause of your own limitations. That's when you get something kind of original.

I project stronger. If you notice the old records - they're much lighter - vocally much lighter in sound than the records that I'm doing today.