Quotes About Instruments

He listened for muddiness, the sense of actual musicians playing actual instruments in an actual room. Nowadays that quality (if it existed at all) was usually an effect of analogue signaling rather than bona fide tape—everything was an effect in the bloodless constructions Bennie and his peers were churning out.

But even God, when he intends mercy, needs tools to his hand.

the Sources of Innovation: The Case of Scientific Instruments. Research Policy 23, no. 4: 459-469.

The "identity crisis" of modern society is actually the crisis produced by the fact that its members have become selfless instruments, whose identity rests upon their participation in the corporations (or other giant bureaucracies). Where there is no authentic self, there can be no identity.

The advice I am giving always to all my students is above all to study the music profoundly... music is like the ocean, and the instruments are little or bigger islands, very beautiful for the flowers and trees.

I have this desire to just while away weeks, months and years. It took me two years to make this record but that was with me trying to condense my process and not disappear down the rabbit hole with all the cool things I've collected. I could take 10 years and not explore everything I want to with these instruments.

I've played every instrument you could possibly think of for 10 minutes. So I'm mediocre at everything. I can play drums, guitar, piano, violin, saxophone, clarinet, flute... Just not well.

Mark this well, you proud men of action! you are, after all, nothing but unconscious instruments of the men of thought.

I play trumpet. And I took all the music courses in college, so I can also play the string instruments, keyboard, the brass and woodwinds - but only well enough to teach them. If you put a violin in front of me, you wouldn't say, 'My God, that guy can play.' It'd probably sound more like Jack Benny.

The reason I don't tour is that I don't know how to front a band. What would I do? I can't really play anything well enough to deal with that situation.

Well, I was very lucky. I was brought up west southwest coast of Scotland and my mother and father had a music shop, and so I was surrounded by pianos and drums and guitars, and music, of course.

I've never been able to sit round on my own and play drums, practice in the back room, never been able to. I've always played with other musicians. It's how I play, there's no joy for me in playing on my own, bashing away. I need a bass, a piano, guitar, whatever, and then I can play.

First, I started to play the organ. I did that until I was 11. From the age of 11 to 13, I gave up music entirely. And then at 13, I picked up the guitar, and after one and a half years, I started practicing intensively. I began playing in rock bands, and it was there that I discovered that the music I liked to write was always instrumental.

I've tried lots of different guitars, including some Lados, and they felt great and were really well made, but the sound just seemed to lack richness in the bottom end. My main Precision is a '71, and I also have a '59 that I don't use very often.

Here in New Orleans, what a lot of the musical families do - and this is a romantic concept on my part - is they teach their kids to tap dance first. Then after tap dance, you learn piano, and after piano, you get to pick between all the instruments that are out there.

When I'm on TV or whatever, I'm able to bring my instruments, my board, and my sound is intact. But other kids who are on TV, when they're doing tap, sometimes they're just on the regular floor. It's not as safe; it's not as sound-worthy as it should be.

We don't make a distinction between an acoustic instrument as a source of sound and any sound in the air outside or on a manufactured tape. It's all electric energy, anyway.

So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.

When we were younger, we sang at the dinner table. We started doing two part harmony, then three part, and then we added back up tapes and instruments.

My head is full of shifting patterns and polyrhythmic stuff; but I want to use all acoustic instruments and create this kind of tapestry of interlocking lulling parts.

I can only speak for particle physics. But it has become obvious that on the experimental side, there has been a huge evolution in the number of people who have to collaborate because of the gigantic size of the instruments used, but also because of the enormous task that is data analysis.

My first instrument was my voice. I was always singing and writing melodies when I was a little kid. I just sort of taught myself whatever was around. If there were instruments around, I'd play them. I always liked the idea of not being shown but coming up with my own energetic connection to the instrument.

Piano was - well, all musical instruments were taught in this very rigid, formal, classical method when I was young.

Just the actual physical ability to hold four instruments simultaneously and do some of the things that Vivien was able to do is mind blowing to any surgeon. He never went to medical school and he became one of the great teachers of medicine himself, people are just amazed.