Temple Grandin Quotes

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.

You can't just stick someone's name on a headphone that doesn't know anything about sound.

With all tools at my disposal, I'm 100% into chasing tone and checking out new equipment and "geeking" out during sound check by taking too much time.

You go into any recording studio in the world, and you see candles, lights, and that Apple light from a Mac.

I rely heavily on my beta readers' honest critiques.

When I first started recording music, I was actually singing about microphones, equipment, recording.

I began my studies in a sound and electrical engineering program, but I ultimately created a major called 'Ritual Art.'

Being able to have a home studio is the greatest thing ever.

That's what records do: represent a compressed, heightened version of the sound. Because of the compression of the tubes and microphones and the wax, it's magic!

I need an audience to look at what I've done so I can understand it, so I can step back and watch them respond and figure out what they're understanding about what I'm trying to do and what they're confused about.

As far as animatronics, I started out in college working for Tom Holman. He was the inventor of the THX sound system. Through him, I got an internship at Lucasfilm.

Making sounds that literally no one has ever heard before because the software and the technology's never been there, and pairing that with great songwriting, then that's what's exciting for me. That's what I wanna do.

We can talk and get feedback about our videos directly from some of our biggest fans. We can't stress the importance of that connection enough.

I'm from the pre-Pro Tools era where you had to meet up with the artist and go over things if you wanted to record a track.

Seeing young people caring about sound again and realizing that it's not cool to not have good sound, that means a lot.

Everyone has their opinion, and if no one criticizes, how will I improve my work?

When I finish my first draft I usually narrate it to some trusted friends who can give me feedback. All criticism is welcome.

When you're writing a blog post, you can take solace in knowing that you will immediately know how people will respond to it, and if the criticism is bad, then that's fine because you can work on that and fix it, and if it's good, then that's great because you know what to do in the future. It gets pushed down so quickly.

I don't have room in my mind to think about musical equipment.

As entertainment and storytelling move in the direction of more immersive environments, binaural sound will begin to play a larger and larger role in those experiences.

When we first started making videos, we didn't have a boom mic, so we had to talk really loud. And then we got a boom mic and were like, 'Wow, we're shouting,' and had to learn to bring it back.

I think I make good beats, but when it's not mastered correctly, it can definitely make it sound like it's not a good beat, and that has been an issue sometimes with me in the past.

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 don't really listen to my old stuff, but on occasion, I would either hear a track on the radio or a friend might play me one, and there was generally a bit of an edgy sound to it, which was mainly due to the digital equipment that we were using, which was state of the art at the time - and I think everyone felt pressured to be working that way.

Take the classic experiment of using ordinary feedback: just take the output of something and feed it back into the input. Those of us who do that have had really rich experiences. And it is obvious that that line of experimentation can continue.