Quotes About Music

I'm like soft Ray Manzarek. I think of the keyboard as almost like a bass or a lead.

The thing about 'Soft Machine' and me was that I never considered another profession.

I am quite a romantic person, really, and I should have put that into my music earlier, but I was probably denying it... I didn't want to be soft because I felt I had to be so hard to get people to believe in me.

This is just the way it goes: there's always a cycle with music - it goes up and it goes down, it goes risque and it goes back, it goes loud then it goes soft, then it goes rock and it goes pop.

I love to sing big rock and roll songs; I love to sing country-pop stuff, and then I love to sing soft, sadder beautiful songs.

My scientific work is much more practically minded - to change something, to effect something. And the music I do is much more soft power, about changing minds.

I'm into the old school. I listen to rock, soft rock, jazz, old school R&B.

Rock's gone soft, it's gone miserable and boring, there's not really much exciting about it. So it's important that we cross over, because we feel like we belong more in a place where people just like music and it's not about how heavy it is.

Seabear's love of soft folk sounds is unquestionable, but that doesn't stop the Icelandic band from infusing its music with layers of instrumentation.

I want to experiment with my voice and music because people have type-casted me as a soft ballad singer. I have to break that image.

Besides music, I was all school, school, school. And softball. I played the game since I was four, and I wanted to go to the Olympics for softball. I got a full scholarship through softball.

There's a longing in country music that can soften even the rockiest heart.

Music has charms to sooth a savage breast, to soften rocks, or bend a knotted oak.

I think you can soften people's hearts, even if they have a lot of hate. Music can do that if it's beautiful and honest. If I can do that - soften just one person's heart - I consider myself successful already.

My music is basically perceived as folk or softer rock.

I'm really loud. I can't sing softly.

It's easy enough to foist your music collection on your kids. Lectures are not required; you just play the stuff while they are prisoner in the back seat on a long drive, or softly in the background while eating dinner.

When I was, like, 16, I had, like, my first, like, bit of software and stuff. So then I started, like, making music and all that.

Many composers use software to write music - programs like Finale or Sibelius. There are also recording programs. I should say I'm still very old-fashioned, I still use pencil and paper. But almost every composer I know does it the 'new way.'

In the future, you won't buy artists' works; you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box.

Right at the start, when I was about 13 or 14, I only had an Amiga 500 Plus running a bit of tracker software called OctaMED. My brother was big into his computers, and when he moved up to a proper PC, I took charge of the Amiga.

Pop belonged to more musical people in earlier times, but we've sort of gotten away from that. Now it's software people. I kind of feel like reclaiming it is in order.

At the age of 12, I got free pieces of software in a box of cereal which allowed me to make music, like really early demos, and then I just never looked back.

Singers who are dependent on digital audio pitch correction software cannot last more than two-three songs.