Sound Evolution Quotes

I'd be worried if I was put in the same category as Michael Bubl I'm trying to sound like a young man, for starters.

I remember when in the early days of rock'n'roll, when everything sounded totally different, all amazing and blah blah blah blah blah. Now you can play me one second of any record from that time, and I'll say "1959" or "1961." I can hear precisely. It's like it has a huge date stamp on it.

I'm always looking to develop my sound and I'm in the studio whenever I have the time to do this. Always looking ahead!

I thought my Beatles LPs sounded pretty good on a record player, but that was before I had heard a CD.

Pianos tend to get better as they age, the more you play them. They grow into their sound.

When I listen to music from different eras, I sense different things. The 1940s music, there's so much optimism and romance, maybe because they just solved the biggest problem on Earth at that time - World War II. In the 1960s, there was so much creativity and innovation in sound.

The late sixties and early seventies were kind of a breeding ground for exciting new sounds because easy listening and folk were kind of taking over the airwaves. I think it was a natural next step to take that blissful, easy-going sound and strangle the life out of it.

I think to stay in one sound is a career killer.

We toured for close to three years after 'Undertow' came out, so by the time we started to work on 'AEnima,' we had matured as functional musicians, and that changes your sound completely. Once you have that kind of freedom, an idea will come into your head and you can do it justice.

Death Cab is a militantly analog band. We'll continue moving forward with our sound, but there will be no crossover.

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.

Jesse Stone did more to develop the basic rock-and-roll sound than anybody else.

'Superunknown' was one of the most dramatic shifts in what we were doing musically. I don't think I realized it at the time.

I think everyone probably starts out sounding like someone else, but gradually you develop your own sound.

The process of repeating a rhythm while it gently evolves has an incredible effect on the brain, or on mine anyway.

Doing something like that, quite radically changing your approach to sound in one go, could leave you high and dry. It's happened before where people have changed direction and then everyone's stopped liking their music.

It started off with me being all the way influenced by Atlanta and southern music but I knew my sound had to grow - I started learning melodies.

I aspire to make a record that sounds better 10 listens in than it does after two, and still, at 50 listens, you're picking out things that add a depth and a thoughtfulness to it; there's enough in there that you can still be extracting pieces out of it.

I always loved bands who would try to change their sound radically album to album, experiment in one album and revert back in another.

Sometimes when you're making songs you just make sounds, and the sounds slowly mutate and evolve into actual words that have meaning.

I hear some new artists that sound country but the record labels and country radio lean more toward a more rock feel for what gets signed to a label and played on the radio.

It is quite annoying that we have to change the sound we invented just to avoid sounding like people who simply copy us, but... it is flattering and of course challenging.

I always try to evolve my sound - innovate, improve, be different but still Martin Garrix. It all starts with an idea in my head, which I work on until it starts to shape itself into a track.

The goal is to make something that sounds new and different.

There's been a progression in my sound.