Sound Experience Quotes

One of my great frustrations for 35 years at the paper was the fact I couldn't play a record for the reader when I was writing about an artist. How can you describe the beauty of Emmylou Harris' voice without hearing it, the sensual lilt of a Duane Allman guitar solo without actually hearing it, or the growl of Johnny Rotten without hearing it?

Like when I'm singing live I can't hear myself. I'm just listening to the rest of the band. To listen to my voice, it doesn't even feel like it's me.

Sound creates an intimate effect: the sensation to feel the place. It makes the viewer enter. You have the liberty to hear what you want.

A person does not hear sound only through the ears; he hears sound through every pore of his body. It permeates the entire being.

I remember, for my fifth birthday, Chet Baker sat me on the upright piano, and he played just for me for a few minutes. I can still remember the pressure of the air on my chest. It was my first physical contact with sound.

My heart is mysteriously alive in the world of sounds - a totally different dimension from the daily life.

Technology is improving to prevent musicians from losing their hearing while performing on stage... audience members losing their hearing from listening to loud music… people being able to experience music not just with their ears, but with touch or with through their eyes.

I love 5.1. Sometimes you can't squeeze everything in comfortably into a stereo picture. There is a lot more space in a 5.1 environment.

Sound loves to revel in a summer night.

It's a 360-degree sound experience. Like you're in the middle of the band. A lot of people have the technology to play the format, so why not put it out there. It sounds great.

My stepfather had an electric guitar. He went to his pawn store one day to get a guitar and an amp, and I couldn't understand what I was hearing. All afternoon, I just sat against the amp and let it reverberate through me. Something must have stuck.

I want the dude in the top row to feel like he's down there on the front row in a club.

When you stand in a traditional audience, you have a wall of amplified sound coming at you from one direction. Everyone's familiar with that.

Hearing is a form of touch. You feel it through your body, and sometimes it almost hits your face.

A sentence is like a tune. A memorable sentence gives its emotion a melodic shape. You want to hear it again, say it—in a way, to hum it to yourself. You desire, if only in the sound studio of your imagination, to repeat the physical experience of that sentence. That craving, emotional and intellectual but beginning in the body with a certain gesture of sound, is near the heart of poetry.

For AERO, I wanted to revisit in 5.1 some existing tracks in order to give them that space I had imagined when I originally composed them, and also to compose some new tracks for this new technology. All of the existing tracks in AERO have been performed with the original instruments, re-recorded and spatially arranged/spatialised for this new dimensional sound experience without betraying their very essence.

On first listen, it's nice to just soak up the sound without thinking about what it means. It's like a relationship. Records I've had for years mean more to me now than they did years ago.