Natural Sound Quotes

I'm a traditional singer-songwriter. I have a more organic sound.

I like to just plug in and play; I don't use a lot of effects.

What is the singing of birds, or any natural sound, compared with the voice of one we love.

That undefined and mingled hum, Voice of the desert never dumb!

Sometimes I write notes that I have difficulty singing. And you start talking yourself out of the bold melody and start wanting to arrange it in another key or something. Maybe I just never learned my harmony part, because what everybody says sounds odd to them sounds perfectly natural to me.

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!

The human voice is the first and most natural musical instrument, also the most emotional.

Everything is so computerized these days and it's all edited and everything. Everything sounds so perfect, and we just want to be a band that sounds like a band.

At the end of the day, you really want to make sure that organic music, made by human beings, at least has a voice.

I love being able to record in a room that's surrounded by trees.

I think my least favourite thing to listen to is perfect songs, perfect performances. They don't feel human to me, and in that respect, they lose any kind of sincerity. I don't know why. It's just my ears.

I always thought that putting tons of reverb on my voice was kind of the equivalent of airbrushing. And I wanted other girls and women to hear a real female voice that wasn't completely manipulated.

I've actually always wanted to make something like an acoustic record.

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 like things that don't sound particularly processed or mechanical or made by machines. I like music that contains human elements, with all their flaws. There's air in it, and you can hear a room of a bunch of guys playing. Those are the magic parts.

The wind is a very difficult sound to get. It's always changing.

Usually, when I see films that don't have any score attached to them, I think they're beautiful. I love just the naked sound of the voice. That's already music.

When I think of a lot of the players I admire, they could always play their parts without hiding behind distortion and sustain.

In the beginning, for the first English record it was really hard for me because I'm a perfectionist and I really wanted it to sound natural and not like a German who tries to sing in English.

I felt a responsibility to present a viable alternative to the popular electric sound.

I don't like a lot of monitors on stage. I like the real raw sound of the open piano.

I like passion in voices. I like passion in music. And I find that, sometimes with today's music, it's just so perfect - it's that high fidelity and all of the auto-tuning and all that stuff. It's too perfect for my ears.

I try to beat back the producers and engineers so they - there's not an excess of stuff used to squeeze my voice to make it artificial. There's a person in there, and people will listen; if they hear another person speak to them, they'll listen because it's lonely out here.

I always go for that live, honest feel when I'm going for that first rhythm track. I'll never hold back on a part just so it'll be easier for me to double it later on - to my ears, it sounds sterile if you do that. I always want to get that initial track kicking and full of slurs, squeals and feel. I'll worry about doubling it later!

Whereas with us - what you hear is what's happening right then and there on the stage - so we don't need no stinking technology.