David Hepworth Quotes

But you can make good radio, interesting radio, great radio even, without an urgent question, a burning issue at stake.

I'm a painter in sound.

However now we can create a sound that can truly startle someone and in terms of sound effects I think the environment that we are in now has improved dramatically.

I consider it a great honor to be part of the dissemination of hearable art.

I'm very aware of what you're talking about as I was involved with the radio in Africa in the same period as I was doing Concrete - I was doing both at the same time.

Once upon a time, sound was new technology.

I'm not really a knob-twiddler. I always work with an engineer; I'm not super hands-on when it comes to mixing boards and computers. I'm much more about what I'm hearing and what it needs to be like. I deal with songs and ideas and instruments.

Weirdly enough, if I'm having trouble with a guitar part - not the playing of it but the writing - I'll mess around with echo and other effects, just turn everything up and make it as crazy as can be, and it winds up taking me somewhere. I've found so many guitar parts from echo. It's limitless.

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.

If it weren't for radio programs like 'The George Jarkesy Show,' no one would know about 'The Amateur'.

One of the rules of the road is that if you want to create the sense of silence, it frequently has more pungency if you include the tiniest of sounds. By manipulating what you hear and how you hear it and what other things you don't hear, you can not only help tell the story, you can help the audience get into the mind of the character.

I think people were just starving for good material because they just weren't getting it on the radio.

The sound world that I created for 'Avatar' had to be very different, really, than anything I ever created before. There is also three hours of music.

I truly believe that you have to bring more content to the table to survive in radio than saying, 'There was AC/DC, and here's Journey,' because computers can do that.

I don't like what the radio plays for the most part.

It's the things that you notice when you're not actually with your instrument that, in fact, become so interesting, and that you - you want to explore, through this tiny tiny surface of a drum.

One survey that I saw that was published I think in Variety or Electronic Media within the last three weeks says that now the average hour of radio in the United States has 18 minutes of commercials.

Because of all the concurrent stories going in 24 and its fast pace, it can be complicated in terms of the story, so I thought sound could help with the storytelling.

Radio, which was a much better medium than television will ever be, was easy and pleasant to listen to. Your mind filled automatically with images.

Public radio is alive and kicking, it always has been.

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

There is an element of mystique to radio, and I often listen to cricket commentary on radio, especially when one is stuck in a traffic jam.

The project which we developed, however, was for a sound piece and I was initially curious that a sculptor should be interested in working with a musician, especially on a project for radio.

But why is it that in music, anything more than 5 years old - apart from a few hits - is never played on radio to the young public?

I have a real issue with radio these days. I just am not into the current music.