Savion Glover Quotes

My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you've lost it. It's pretty much a case of 'lock the door and set up a police line.'

I wanna go in the studio and just go back to the same amps and stuff I'm so comfortable with the sound of. Which I think is important to stay original.

All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.

When you hear a great two-track of a performance in Carnegie Hall, let's say, it sounds like you're right there at that moment. It's true to reality. And the closer it gets, once it gets too technical, it becomes very tinny to hear notes. It doesn't sound right. It has to be natural.

I know sound, and this is what I'm going to stick to: what I know.

Words have not only a definition... but also the felt quality of their own kind of sound.

Very few guitarists play nylon-string. They don't know how to get the sound out of them. That's something I've spent a lot of time on.

One of the problems with musicals and opera is you can't ever hear all the words.

Recording studios are interesting; a lot of people say - and I agree - that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.

All the instruments of percussion known to European science are essentially nonmusical and can only be tolerated in open air music or in large orchestras where a little noise more or less makes no difference.

Carolines is the best. It has great sound, you can hear from the front all the way to the back with the same quality. If you want to see the top comics, go to Carolines.

When I am on 'Raw' and 'Smackdown,' I try to make the best of it.

The Smith Center is a theater where you want to keep the lights on. The acoustics are amazing, and this is a stage that was built for sound.

Piano is one of those instruments you don't have to be good at to sound good - you just have to know where to put three little fingers, which is really pretty easy to figure out.

My shows have never been related to my albums at all because my albums have all kinds of crazy instruments and stuff that could never be performed live. I'm used to people expecting this 12-piece band to show up with three drum sets and an accordion.

We have a lot of people onstage. We have a live violin, live cello, live drums played on this kind of massive electronic kit with some acoustic elements built in.

I was a drummer in a group called Three Plus. We were performing at a club in New York, and my mother signed me up for tap classes. I fell in love from the door... so you can blame it on my mother.

I've always used the Peavey Mace equipment. I've got a few of them. They're kind of like Marshalls. You know, we used to use Marshalls, but Peaveys just seem to last longer and push the sound better.

The sound of tap is not 'clickety clickety tap tap,' this monotone thing. The sound of tap has depth. We want you to hear the different highs and lows, the bass, the trebles and the melodies, if you can.

A lot of people don't realize that guitar playing is very much like singing or playing any of the glissando-type instruments - you have to do it in tune.

Upon graduating from my acting program at The Pacific Conservatory of Performing Arts in Santa Maria, CA, I went to my first tap audition. It was for the 1st national equity tour of '42nd Street.'

There's a tendency to think tap's had its day, but 'Happy Feet' kept us in the race. That penguin is our Shirley Temple.

There are people who take tap class, do a tap dance. And then there are people who know the dance, who know why they take tap classes. Who know why they do 20 shuffles, or 50 shuffles, before they go on.

Show dancing stood very well on its own a long time ago with dancers like Bill Robinson and Marilyn Miller.

You can buy $20,000 speakers, but put them in a room that's not right, and it sounds terrible. If you buy $20 speakers and put them in a room that's tuned right, it'll sound great.