Quotes About Sound

Young children especially are receiving so much of the world through their ears and their eyes, particularly if they're pre-literate. So engaging them with sound, particularly sound that stirs them emotionally because of the sequence of notes, will make them pay attention.

One of the main things I look for in a guitarist is in the sound itself. I go for a certain sound, and I think it's an important thing for making a player more identifiable in the big giant pool of musicians out there. You want a sound that people will recognise just as much as your playing.

Skrillex has been successful because he has a recognizable sound: You hear a dubstep song: even if it's not him, you think it's him.

As soon as 'Still D.R.E.' starts playing, you know what it is because of the melody. Most of the world's biggest records are less chord-driven. They have that instantly recognizable sound.

I'm hoping to have a huge future in voice-overs. For years, people have said, 'I recognized your voice before I recognized your face!'

As a child, you respond physically, tactically. You're delighted by sound, you're delighted by recognizing something. It's like hide and seek. Is it there? Is it not there? Is it this note? Is it not this note? It's one fantastic game.

My first recollection is that of a bugle call.

I have a little dictaphone and if a sound takes my fancy or if a lyric comes to me in the middle of the night I'll just record it there and then.

In the old days, all the movie songs were recorded right there on set.

In Jamaica, the music is recorded for the sound system, not the iPod. It's about experiencing music together, with other people.

On our early demos, I was really frustrated with my recorded sound. I'd tell my dad, 'Dude, I want more 'cut' on my guitar - I want more treble.' And he'd say, 'Now, son, you don't want that. It'll hurt your ears.' But my dad just didn't understand.

When I recorded 'Sun,' I wanted to do something with more of a modern sound. I've never done anything like it, and it was fun for me to sing, but I'm not really a dance person per se. However, I would love to hear that song in the club. I think it's a really good dance song.

I have always been interested in incorporating real places into the music I make. Bringing the outside into the controlled world of recorded sound just gives life and physicality.

I think there's an attitude these days that you can go straight from a studio to the stage, and it isn't really like that. But playing live was the most important thing for me at the start because whenever I recorded something, it didn't sound right; I didn't like how my voice sounded. It was just raw.

Sometimes I hear records that are being recorded at the absolute highest quality, and I just don't like the sound of it.

No compression or as little as possible - that's how you get a good recording.

The group-effort sound in recording of 'Sea Lion' is like, you really hear all the people in the room and hear them interlocking. There's a real freight-train energy of all these people at the same time playing.

I always liked the intensity of the recording.

People are so into digital recording now they forgot how easy analog recording can be.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.

I prefer recording drums in the analog format, but that does not mean I would only do it that way.

I used to have a radio show. That's how I started foolin' around with recording.

When people are recording, and they're like, 'I want to get the drum sound of the Beatles,' I hate that.

Gaslight has a specific way of playing and recording that's sort of become the way now.