Nobuo Uematsu Quotes

Dick Mills was in charge of sound effects and all the rest then, and he put the voice through a ring modulator or whatever gizmos he'd got at the time to make it sound a little more electronic.

Well I think effects are tools.

Well, I think, I certainly used backward music in Sea of Monsters. I can't remember in the Sea of Time. I would tend to do that all the time, you know? I tended to do all sorts of weird things. Just to get effects.

I'm a painter in sound.

And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me.

The dubbing of the music and effects is really incredible today. You're feeling gun shots. I mean, it's not the way people say it is, but the gunshot sounds real. And cars sound real. Among the many things in the evolution (of movies) is to make the sound in the movie incredible. That's what you feel.

When I went into the studio I created a sound that I wanted to hear.

The drone is a very fundamental part of my music, although it's not always present.

With NOAH, you can create some stunning, yet original soundscapes. Therefore, as a performance tool, it really comes into its own because you can make one single performance which has a lot of detail.

As you can appreciate over my lifetime I've developed a large vocabulary of sounds each requiring certain physical techniques often combined with a specific effect box.

I really like iZotope Trash, which is a great plug-in for distortion, as is Ohmicide, which I love. It's an absolutely crazy multiband distortion, compression, EQ and filter, which pretty much lets you do anything.

The studio that we mix in is still in Chicago.

But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.

I want to do more audio originals because I think that it is a fascinating medium. If you think about it, this is original storytelling.

I've always tried different stuff in the studio. I use rakes, spoons, cans... I'm a surround-sound type of guy.

They sent me some tapes of the original Mole and I thought it was pretty intriguing. I'm sort of an experimenter; I thought it'd be interesting to play around and see what's there. It was fun. Turned out to be good.

We all know that much of what we hear in life is not really so. Canned laughter and 'sweetened' applause have been TV staples for decades, and all the slamming doors, breaking glass and squealing tires you hear in movies are sound effects.

But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.

There's a lot of electronic surround-sound music, and I've done a lot of work where I write music for other people to move around a space.

The first time I experimented with sound design was on 'Fruitvale Station,' where I recorded the BART train and manipulated it.

I always like to do sound design, and in movies, you have more leeway with that, but I don't really notice that sound design is being used in TV other than just location sound.

There's this weird game called 'Blueberry Garden.' For that game an artist recorded some piano music, but evidently he only had a really terrible microphone on top of the piano, and I really liked it and wanted to experiment with that. So, I made piano recording and really mangled it, and kept experimenting with the technique.

I went to school for audio engineering, and I was around a lot of sound engineers over the summers in New York, so I'm pretty comfortable in engineering my own stuff.

I'm really into the way sound works in film, and I did a little bit of sound design for theater in college.

I'm usually the last man on the totem pole. Except for the sound effects and the final sound mix, the score is the last element to be added to a picture.