Sound Creation Quotes

A composer is a guy who goes around forcing his will on unsuspecting air molecules, often with the assistance of unsuspecting musicians.

What formed me as a musician, a songwriter, the sound and personality of my band, a whole lot of that happened well before 1991.

My best monster bass sounds have come from FM8. People think they all come from Massive, but most of the ones that kids online are trying to recreate in Massive are actually from FM8. I also really like Sylenth1, my Tone2 Gladiator and some other granular soft synths as well.

Clipping is a very specific, concept-y thing. We have all these rules: we don't sample drums. We create all our own sounds. I don't speak in the first person. We come from a background of experimental music like John Cage... Philip Glass.

I like the sounds of EDM; the guys create new sounds, beautiful sounds. The melodies, it's a little less. I like the kind of melodies I did with Donna Summer, or 'Flashdance,' where you have a verse, a chorus - a song setup.

I think if I wanted to get to a point where I could actually grow in my music, I had to almost step away from sampling so much and start making the kind of music that people wanted to sample.

From the end of 2015 to the start of 2016, I was always at the studio with Mustard, just figuring out a sound.

I always liked the steel guitar. I also love the guys that play the bottleneck. But I could never do it; I never made it do what I want. So every time I would pick up the guitar, I'd shake my hand and trill it a bit. For some strange reason my ears would say to me that sounds similar to what those guys were doing. I can't pick up the guitar now without doing it. So that's how I got into making my sound. It was nothing pretty. Just trying to please myself. I heard that sound.

We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.

The rush of creating sounds and mixing sounds is always an interesting challenge, especially for someone like me, who doesn't know about sound.

I never consciously tried to conceive of what my sound should be...I never tried to imitate anybody, but when you love somebody's music, you're influenced...I really don't know how I developed my sound, but it comes from a combination of my musical conception and no doubt the basic shape of the oral cavity.

A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

I wanted to make the kind of records that I heard in the discos that I danced in at that time. Funky, electronic sounds, while the musicians in the band were more rock oriented. This I suppose created the sound we know as Frankie Goes To Hollywood.

My first synthesizer was the VCS3. I got it in Bristol in the late Sixties, long before Pink Floyd used them. I had to sell an acoustic guitar and an old reel-to-reel tape recorder to raise the money. You can do fantastic things with modern computers, but you cannot use them in the same intuitive, spontaneous way you can a VCS3.

I like making sounds and putting it together, I'm not just a singer or a producer.

Deep inside I feel that this world we live in is really a big, huge, monumental symphonic orchestra. I believe that in its primordial form all of creation is sound and that it's not just random sound, that it's music. You've heard the expression, music of the spheres? Well, that's a very literal phrase. In the Gospels, we read, "And the Lord God made man from the dust of the earth and breathed into his nostrils the breath of life and man became a living soul." That 'breath of life' to me is the music of life and it permeates every fiber of creation.

I wanted to make sounds that I'd never heard before.

As soon as I started writing the first batch, I had a vision. I saw me on stage playing a certain type of music. I want to take these blues melodies over aggressive guitars. I heard the sound I wanted to make. I knew what I wanted to do. It wasn't ever there before.

From early on, when synthesizers were first introduced into music, I liked the idea that you could get a big sound with them, electronic, but like an orchestra. And I could play it all myself. That was exciting.

I don't think you can contrive any sound.

It amazed me how some people could touch an instrument and create something so beautiful, and when others tried, like me, it just sounded like mangled noise.

When I think of Marilyn Monroe, and achieving her sound, I think of having a rather large bust. I think of her physically and I am just able to create her sound, because her physicality was so much to do with her sound.

You are born with a sound; everyone is, less or more. And this sound has to be developed. I am not talking about vocal technique; I am not talking about how to sing. I am talking about how to produce a sound.

My own thing is in my head. I hear sounds and if I don't get them together nobody else will.