Sound Clarity Quotes

My dark sound could be heard across a room clearer than somebody with a reedy sound. It had more projection. My sound always seemed to fill a room.

Whenever I record more than two or three layers, it starts to get cluttered up, and you can't hear the cut of the guitars as good. It's hard to get four guitars to hit at exactly the same time and keep the attack tight.

A lot of times good, pristine recordings prevent the listener from getting emotionally involved in the music.

Having a band was part of my heart's desire, musically. Within myself, I was saying that, 'Not until you have a band for yourself can you maintain the standard of your songs,' and the sound become a foundation. You don't have to feel around for two or three weeks for the sound because the foundation is already built.

When you're recording, if you're not really clean in your playing, it sounds like a mess.

I loved music, and in my ninth year at MIT, I decided to buy a hi-fi set. I figured that all I needed to do was look at the specifications. So I bought what looked like the best one, turned it on, and turned it off in five minutes, the sound was so poor.

Music as background to me becomes like a mosquito, an insect. In the studio we have big speakers, and to me that's the way music should be listened to. When I listen to music, I want to just listen to music.

It's all about sound. It's that simple. Wireless is wireless, and it's digital. Hopefully somewhere along the line somebody will add more ones to the zeros. When digital first started, I swear I could hear the gap between the ones and the zeros.

Noises have generally been thought of as indistinct, but this is not true.

I wanted to do something as an extension of my passion for music. My aim for the STREET by 50 On-Ear Wired Headphone range is to present music as it's meant to be heard, in studio-mastered sound.

Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.

Most theatrical events range in the inaudible. When I went to see 'Mamma Mia,' I thought they were playing it through a megaphone.

It's very clean. With tape, you get noise.

I want my music to sound good on whatever people are listening - laptop speakers, those crappy little white ones you get with your PC.

I've discovered that sheer quantity doesn't necessarily make for a heavier sound; if anything, overdubs make guitars sound mushier.

Because of her interest and demands, I amplified an average baritone voice into one that is loud and clear.

No compression or as little as possible - that's how you get a good recording.

A lot of modern amps and preamps sound great when you're jamming by yourself, but don't hold up in a band situation. The sound isn't dense enough, and the lows and highs tend to get soaked up by the bass and cymbals.

All sounds are sharper in winter; the air transmits better.

Sometimes things get too layered and compressed or there's too many effects and they turn into mush on record. I strive to keep it raw and live-sounding, like you are in the room watching the band play.

Clear Moon' is more... clear I guess! It's more round-sounding and it's slightly gentler. 'Ocean Roar' is more challenging and weird and darker and heavier - the idea was for it to feel like a thick fog laying on your head, versus a clear sky with the moon in it.