Quotes About Sound

Cinema is ultimately a work of art, it is all about sound and visuals.

With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That's why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.

Hearing loss has not affected my vocal range. I can still pitch perfectly, but without the hearing aids, I don't hear the intricate high parts of the actual spectrum.

Just the way my voice sounds now, it's always had this little hoarse thing to it. And I'd have to do vocal exercises to make my voice clear.

People often ask me how I developed my vocal sound, and the answer usually disappoints them: 'It's just the way I sound when I sing.'

The most effective instruments do have a vocal quality.

A vocal producer is very important, and it's a very important component of an overall successful and good-sounding record.

You are born with a sound; everyone is, less or more. And this sound has to be developed. I am not talking about vocal technique; I am not talking about how to sing. I am talking about how to produce a sound.

We always try to make every song we do sound like a track. It's vocal, but we want it to be really full so no one really can even know if it's a cappella. It's not like it's missing anything, per se.

If you don't make those vocal chords work, they'll go dormant on you.

And singing is a physical thing - your vocal cords are these muscles.

Just because the gender of the vocalist is the same, that doesn't actually tell you anything about the sound of the band.

A lot of the time, in pop music especially, there's reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out.

The vocal arrangements are a big part of the formula for a Bad Religion song - layered harmonies and background vocals. So when I start to describe the elements of Bad Religion's sound, it starts to sound like a Christmas choir.

I naturally like that dreamy, shoegazey sound on my vocals. A lot of reverb helps, and so do a lot of delay effects on everything.

I treat my vocals as an instrument.

For a young band about to make a record, make sure you get the vocals right.

I think I'm a vocal genius, not a musical genius. I like background vocals. I consider myself a voice, not a singer. A voice is a sound, and singing is what you do with that sound.

But I would lie on the floor and analyze everything. I'd listen to all the strings and the background vocals on the Saturday Night Fever soundtrack and try to pick out the different instruments.

I don't believe that recordings should sound radically better than the artist, I think that's dishonest. For example, I'm not a great singer but if I spent enough time tweaking my vocals, I could sound like one. But I don't, what you hear is pretty much what I sing.

We were gradually playing larger venues and in the early days PA systems were kind of non-existent. So to play loud, we had to use louder equipment. The PA systems back then didn't mic the instruments - only the vocals.

Oh man, I love what the South brings as far as the soul, and I really have noticed from even the early days of listening to OutKast and Goodie Mob that Atlanta and the South has a diverse sound to it. You have bounce music. You have soulful musicians. You have artists with vocals who try to do different things.

I pride myself on having a really authentic music sound: no gimmicks, just my vocals.

I think that I've gotten a lot more relaxed, and I know how to go about getting a sound now. I know what to do to get the vibe right. As an example, when I'm doing vocals, I don't have six guys sitting out there in the control room, messing around, making faces.