“I feel like there's a lot of beauty in the darkness of 'Narrow Stairs,' but that's not really a place I'm ready to go to for a while. I'm interested in taking a different approach and having the next record be different in tone - I'm just not interested in making another dark, dark album.” FeelsDifferentNextDarkDarknessRecordsReadyApproachAlbumsToneNot InterestedStairsDifferent Approach Author:Ben Gibbard
“It takes a little more time to get into the role, but not very much more. In making a record you don't have the sense of projection over a distance as in an opera house. We have this microphone and this magnifies all details of a performance, all exaggerations. In the theater, you can get away with a very large, very grand phrase. For the microphone, you have to tone it down. It's the same as making a film, your gestures will be seen in close-up, so they cannot be exaggerated as they would be in a theater.” LittlesWould BeFilmHouseRolesRecordsPerformancesTheaterDistanceDetailsPhrasesToneGet AwayMore TimeOperaGesturesProjectionExaggerationExaggeratedMicrophonesOpera House Author:Maria Callas
“I've always thought, it's the artist that write the songs and make the records. And it's our responsibility to set the tone for what's happening in the industry. And I take that seriously.” WritingArtistSongResponsibilityRecordsIndustryHappeningsTone Author:Eric Church
“The relationship with actor and director is probably closer to theater, in that, when we record the dialogue, there is very little in the way of the creative collaboration - no cameras, lighting or even locations. Then, once we record, the post process is very similar to the post flow in filmmaking - editing, sound design, mixing, etc. At the end of the day, it's all about storytelling and honing in on a tone by developing a rhythm and structure that suits the storytelling.” WayLittlesEndsActorsProcessSoundCreativeRecordsDesignDirectorsFlowTheaterCamerasStructureDialogueStorytellingSuitsRhythmDevelopingPostsToneThe End Of The DayEtcCollaborationFilmmakingEditingLocationLightingMixingHoningSound DesignCreative Collaboration Author:Glenn McQuaid
“I would never try and play like Harry James, because I don't like his tone - for me. It's just white. You know what I mean? He has what we black trumpet players call a white sound. But it's for white music ... I can tell a white trumpet player, just listening to a record. There'll be something he'll do that'll let me know that he's white.” KnowsTryingMeanI CanPlayFunnySoundBlackWhiteRecordsPlayerListeningLet MeToneTrumpetsJust Listen Author:Miles Davis
“I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, 'Where, what planet, did this guy come from? Is he from outer space?' I'd never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did. There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.” ThinkingKnowsWayFirstsHeartLittlesPlayRememberGuySpaceHellRecordsWonderfulHeardFiguresPlanetsImpressionToneLastingChicagoSoloThis GuyOrchestraSymphonyTrumpetsIntervalsRefinementOuter SpaceFirst ImpressionSymphony Orchestras Author:Benny Goodman
“If tone is granted to be subjected to control, why not line also, which has equal emotional significance? And if line, why not shapes and forms? And if shapes and forms, why not allow elision or emphasis of detail? And if all these things are allowed, what becomes of the record of actuality ?... Sunk without a trace!” IfsFormLinesRecordsEmotionalShapesEqualDetailsGrantedToneSignificanceWhy NotEmphasisActualityWithout A Trace Author:William Mortensen