Doug Aitken Quotes

That's the sound design. I watched it sixty times because we were constantly tweaking. The same thing comes twice, right? Once it comes in the beginning when he's about to discover that he needs to come out and one is the dream where he's flattered (??) and then he comes out. The last one, instead of going bigger, we made it smaller. We removed elements and thinned it out. So it doesn't drive him. He drives the music rather than the other way around.

You know music and sound design can be very powerful with how you use it but also the absence of sound can say a lot as well.

That's a sound design thing but then we wanted to do music that would not disturb it and at the same time drive it.

The whole background of 'Avian' is rain. I was just playing with textures and realizing you can touch music.

I think I have a basic sound aesthetic that is in most of what I do.

In radio, you have two tools. Sound and silence.

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.

The rush of creating sounds and mixing sounds is always an interesting challenge, especially for someone like me, who doesn't know about sound.

Music or sound in a film is a character as important as another character.

If I crave a frequency in the mid, I'll just drag in a sound and try to mold it into what feels right. It happens very quickly. And if I've been making a piece of music for five hours and it sucks, I'll just throw it away.

You could make some great sounds with technology. That's what recording is all about. What happens in the studio is very magical, and should be, in my opinion.

I just love crafting and shaping sounds... I like to breathe my own life into these sounds

It means basically I'm using the synthesizer more to change the sounds of other things rather than to use it as the source of the sound.

I like films where the music and the sound design, at times, are almost indistinguishable.

When you want to do something that is challenging or interesting or new, you never find the place. All the places are obvious or old or generic. And so you realize that the role of architecture is fundamental.

Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.

Atari always was a technology-driven company, and we were very keen on keeping the technological edge on everything. There's a whole bunch of things that we innovated. We made the first computer that did stamps or sprites, we did screen-mapping for the very first time, and a lot of stuff like that. We had some of the most sophisticated sound-creating systems, and were instrumental in MIDI.

I wanted to use the studio like a microscope for sound, which is what good engineers do.

Television is all about sound. You'll never get a moment of silence unless there's something really extraordinary going on, on screen, visually. They never let a moment of silence pass without being filled in television because it's a very sound-driven medium.

Cinematography is a writing with images in mouvement and with sounds.

I like to work with a combination of analog and Pro Tools. I love the sound of analog tape, but there's so many things you can do with Pro Tools that would be incredibly difficult and very time-consuming with analog.

When I make records I have full control of everything and I know how it sounds before it comes out, with films it's outta my hands.

I've got a canvas, I've got a scene, let’s fill that with sound.