Kevin Olusola Quotes

We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.

The sound was my greatest concern. There were certain difficulties getting used to the way every musician can hear his or herself, the way each of them relates to the musician in the next seat.

Every day we make more progress toward understanding the concert hall.

It wasn't very satisfying playing the big arenas, but it was good as far as a paycheck. But the sound was terrible, especially in hockey arenas - the sound would go on for 30 seconds after we quit playing.

I went to see Alison Krauss and Union Station at Disney Hall and I would say it was one of the most astonishing sonic experiences I have had. It's an enormous room that's acoustically perfect. My interpretation of receiving music as a layman is that the way the music kind of settled on me in that room was perfection.

With real estate, it's location, location, location. In public speaking, it's acoustics, acoustics, acoustics.

If you're playing in a room that holds 15,000 people, it's just a question of how bad the room acoustics are and in what way they're bad.

I think we all think we sound really good in the shower, where there's that nice reverb.

Of course, your voice always sounds better in the shower for some reason, maybe it's just the octaves or, I don't know, the water, I have no idea.

For echo is the soul of the voice exciting itself in hollow places.

Kids now are so used to surround sound and the power in theater speakers, that the concert hall is a disappointment to them.

The great problem of the concert hall is that the shoebox is the ideal shape for acoustics but that no architect worth their names wants to build a shoebox.

The atmosphere defines the environment of sound.

If you're in a forest, the quality of the echo is very strange because echoes back off so many surfaces of all those trees that you get this strange, itchy ricochet effect.

We did experiments with the Boston Symphony for many years where we measured the angles of incidence of sound arriving at the ears of the audience, then took the measurements back to MIT and analyzed them.

Where you record is very important. It can't be too nice, it can't be too expensive, it can't have a view to an ocean or a field.

The first eight songs we were using someone else's monitors and it is hard to follow the changes when you are jamming if you can't hear those who you are jamming with.

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.'

With American orchestras, in particular, because they play in such huge halls, getting a true pianissimo is very hard.

I prefer to sing in the shower 'cause the acoustics are really, really good, I mean, when you're singing against the tile walls then you really hear yourself, hear your voice, you know, throwing itself back at you.

When you're onstage with an electric band going through a massive P.A. system, it's very artificial. You can't really hear your own voice as it comes out of your mouth.

I count all the time on resonance. I call on this, you see.

After that initial success, every chance we got we'd hire that remote recording truck and just record stuff at the Whisky because it was so inexpensive.

Microphones are just like people, if you shout at them, they get scared.

I play in a lot of empty rooms.