Most film scores have one vibe, and they stick with it.
My whole career will be about sad things. Happy songs about nightclubs and shots? That's not me.
I would never try and play like Harry James, because I don't like his tone - for me. It's just white. You know what I mean? He has what we black trumpet players call a white sound. But it's for white music ... I can tell a white trumpet player, just listening to a record. There'll be something he'll do that'll let me know that he's white.
Japanese people they hear my warmin' up and they start screamin'. They can tell it's me.It's my tone on the trumpet, it sounds like I'm speakin'.
I was always a laid-back, subdued person, and I just try to let that speak through my music.
I went pretty much for one tone, and I knew at that time that I wanted to play a Rickenbacker.
Music is about depth. Music is about harmony. Music is about notes and tones.
'You Should Be Here' set the tone that, 'Alright everybody, I want you to listen to this album.
A superb tenor voice, like a silver trumpet muffled in silk.
I love the tone of old, non-amplified, real acoustic fiddles, and Wood Violins are the closest thing I have found to that sound. They play beautifully!
A lot of Knxwledge's instrumentals just brought out this tone and swagger that I had played with before but had never really pinpointed before on my Anderson .Paak stuff. But then it just came so easily.
What I noticed, in the short time I've been in Chickenfoot, we wound up doing a tour and a live DVD with basically that scoop sound. I was using OD2 for that entire tour. When we went out on this new tour and made the new record, I used the amp in an entirely different way. It was already modified.
I listen to the timbre of the music, and I fit my voice to blend with that timbre.
The sound of the mandolin is a very curious sound because it's cheerful and melancholy at the same time, and I think it comes from that shadow string, the double strings.
I love getting time to write a piece of music that can settle in and set the tone of the show.
I've tried lots of different guitars, including some Lados, and they felt great and were really well made, but the sound just seemed to lack richness in the bottom end. My main Precision is a '71, and I also have a '59 that I don't use very often.
We've always had a dark atmosphere to our performances, so it sort of developed along those ways.
In Spanish, for whatever reason, I lean more toward the high notes.
When one plays a Steinway, there is a warmth and nobility in the sound that is unequalled by any other instrument.
I love the ukulele. It's got a beautiful, melodic tone to it. There's something innocent and romantic, and it's just a grand instrument to play.
I drank some boiling water because I wanted to whistle.
I want to paint a canvasthat will be nothing but harmonious tone.
If you have a tone like mine that is recognizable. No matter what I play, when you hear my tone you can tell it's me.
Beauty and fullness of tone can be achieved by having the whole orchestra play with high clarinets and a carefully selected number of piccolos.
I too once belived in the heavier gauge string as a superior tone source. However, thanks to the graciousness of B.B. King I learned that a lighter-gauge string offers superior playing comfort ... try it, you may like it.
