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Rooms Quotes

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Rooms Quotes

“Several times a day, stop and just listen. Open your hearing 360 degrees, as if your ears were giant radar dishes. Listen to the obvious sounds, and the subtle sounds—in your body, in the room, in the building, and outside. Listen as if you had just landed from a foreign planet and didn’t know what was making these sounds. See if you can hear all sounds as music being played just for you. Even in what is called silence there is sound. To hear such subtle sound, the mind must be very quiet.”

“I sat day after day in my little room, waiting for inspiration to visit me, trying to invent a pseudonym that would express, in a combination of noble and striking sounds, our dream of artistic achievement, a pen name grand enough to compensate for my own feeling of insecurity and helplessness at the idea of everything my mother expected from me.”

“You may be sitting in a room reading this book. Imagine one note struck upon the piano. Immediately that one note is enough to change the atmosphere of the room - proving that the sound element in music is a powerful and mysterious agent, which it would be foolish to deride or belittle.”

“The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.”

“We've forgotten what it's like not to be able to reach the light switch. We've forgotten a lot of the monsters that seemed to livein our room at night. Nevertheless, those memories are still there, somewhere inside us, and can sometimes be brought to the surface by events, sights, sounds, or smells. Children, though, can never have grown-up feelings until they've been allowed to do the growing.”

“When you get an idea, so many things come in that one moment. You could write the sound of that idea, or the sound of the room it's in. You could write the clothes the character is wearing, what they're saying, how they move, what they look like. Instead of making up, you're actually catching an idea, for a story, characters, place, and mood - all the stuff that comes.”

“What's important is a great set of objective ears, years of experience and a great room with a true sound. Look at this way: If the equipment in a studio is a high performance car, and the mastering engineer is the driver, putting the car on ice and trying to achieve a good lap time is like trying to master music in a bad room, all the equipment in the world wont help you connect with the music and let you hear what's really happening. The room is the environment in which the mix performs to its potential, as the road is to the car. It's hugely important.”

“In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.”

“I think that the way that I write stories is by instinct. You have some basic ideas - a character, or an image, or a situation that sounds compelling - and then you just feel your way around until you find the edges of your story. It's like going into a dark room... you stumble around until you find the walls and then inch your way to the light switch.”