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Sound Quotes

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Sound Quotes

“Fear looks both ways but still refuses to cross; fear looks twice and still doesn't leap. ... Fear usually arrives late, inevitably leaves early, and ends up never going out of town at all. Fear is the phantom hand on the back of the neck and the sound of a door opening downstairs when no one is coming home. ... Fear grows poor because it watches others gain wealth but cannot enter the fray; fear grows sick because it eats away at heath even as it fears its diminishment; fear grows old watching others live in ways that seem to threaten-but in reality only enhance-life.”

“In walking through the world there is a choice for a man to make. He can choose the fair and open path, the path which sound ethics, sound democracy, and the common law prescribe, or choose the secret way by which he can get the better of his fellow man.”

“I really wanted to get that dynamic on the record onto people and let them know it wasn't just a simple strumming along the guitar type of thing without ramming it down their throats so I kind of went the opposite way and sang some of the songs more quietly which allowed for the louder parts to sound as though there were more. It was the only way singing those songs made sense to me.”

“When you're younger and a little more innocent, you write whatever [lyrics] comes naturally. But as you get used to writing you try to steer the sound and music to different music and throwing in the "kitchen sink" of sorts into the music. With that way, you end up putting in much more than before and you could even make much more next time around.”

“Any young boy can nowadays explain human flight - mechanistically: " ... and to climb you shove the throttle all the way forward and pull back just a little on the stick. ... " One might as well explain music by saying that the further over to the right you hit the piano the higher it will sound. The makings of a flight are not in the levers, wheels, and pedals but in the nervous system of the pilot: physical sensations, bits of textbook, deep-rooted instincts, burnt-child memories of trouble aloft, hangar talk.”

“I don't take so-called "vacations" often. In fact vacations are more stressful than the lives my wife and I worked hard to set up for ourselves in New York. It seems like being on vacation is like normal living, which is not very satisfying. It means we're figuring out what to make for lunch today, and that seems like such an absurd way to live. The issue of dealing with that doesn't seem to be so prominent back home. It sounds so silly and ridiculous, but it's really the way it is. We love what we do, so I prefer being in the studio; that's really living for me.”

“This is going to sound really corny, but it's the way I feel: Musicians have been around for a really long time. It's a really, really old job. When you look at the way that a small band toured back in the '50s, it's similar to the way that a small band tours now. It's been this long tradition, and when you meet somebody who has been doing this for a really long time, you have to have tremendous respect for them.”

“Just the way sound creates visible waves as it travels through a droplet of water, our "belief waves" ripple through the quantum fabric of the universe to become our bodies and the healing, abundance, and peace-or disease, lack, and suffering-that we experience in life. And just the way we can tune a sound to change its patterns, we can tune our beliefs to preserve or destroy all that we cherish, including life itself.”

“The audience is invisible and that's good. Somewhere my voice is drifting through a swine barn and the sound of it seems to perk up the sows' appetite. Or a lady is listening on headphones as she jogs along a beach, running to my cadence. Or a dog sits in front of the radio, head cocked, and the sibilants excite him in some mysterious way. A dog's humorist, that's me.”

“I am always interested in the ways of scoring the sound of the poem, especially a poem with long lines. Spaces within a line, double colons, slashes, are indications of pause, of breath, of urgency, they are not metrically exact as in a musical notation but they serve (I hope) to make the reader think about the sound of the poem - just as traffic symbols, when driving, make us almost unconsciously aware of a steep hill, an intersection, an icy bridge etc.”

“I didn't want to be apologetic about my love story, and I think to be willing to write about love you have to be willing to sound foolish. I wanted to write about foolish and goofy love and different relationships. I wanted to write about interracial relationships in a way that does not pretend as if race does not exist.”

“There is a song of Gainsbourg that Jane Birkin sang, and the words are beautiful in French. It says, "Le jeu et les moi." It's impossible to translate, because it has a very nice sound. It sounds so lovely in French. So I took that because it was the subject: I and myself and myself and I. Which is, in a way, boring, because it is a contradiction.”

“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.”

“I've always found that when you're trying to create illusions with sound, especially in a science fiction or fantasy movie, that pulling sounds from the world around us is a great way to cement that illusion because you can go out and record an elevator in George Lucas's house or something, and it will have that motor sound.”

“Everybody's going to do the 3D slightly differently the same way that people are going to deal with color differently. Some movies downplay the color, some color is very vibrant. Color design is very different. We've got to think of 3D like color or like sound, as just part of the creative palette that we paint with and not some whole new thing that completely redefines the medium.”

“My personal relationship with music is an imperfect harmony because I never studied music, but here I am not just writing for bands but full orchestral sections and doing all this composition, and I never learned the right way of doing things so I have a lot of dissonant sounds and things that are brought to my attention, and generally I leave them that way because I like those imperfections.”