Sound Manipulation Quotes

I do most of my vocals - aside from a couple of little one-shot vocal samples. I record everything into the Saffire with an SM58 then scratch it with loads of plug-ins. I don't do much vocoding to be honest. All my vocals are usually done with Melodyne and a ton of other plug-ins to make it sound weird.

For more than 10 years, Daniel Snaith has been playing mad scientist with pop and psychedelic music. As Manitoba, and more recently as Caribou, he's pushed the genres' limits with electronics and studio trickery.

Silence is our enemy, and sound is our weapon.

On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.

Lots of people think it was Jimmy Page who had the first fuzzbox. It wasn't, No! it wasn't me either.

I've been doing voices as long as I can remember. When I was little I could pick up on sounds, and then I discovered you could distort what you hear and make people laugh or disrupt a class.

Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.

Distortion pedals are just fantastic for not only rehearsing quietly but also for all those moments when you are going to play in highly compressed environments like radio, television, or recording against compressed loops.

When I hear something new, mostly in rhythms, I often find it interesting to recreate it in a studio in a completely different way.

'No Bones' has some reverb that I kick around.

Stevie didn't use the technology to drive the song. He used it to enhance. I use the tools to further my work, I don't use my work to further the tools.

I think I compose as a listener: improvising and listening back excites me because I get to ideas that never would have occurred. Then I bring in the computers and samplers... and I begin to loop and process and change them.

Music turned to digital, and suddenly you had the possibility to make things louder than loudest, which boggles the mind but it's true, and what you have are all kinds of different ways of distorting your music.

It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.

If I crave a frequency in the mid, I'll just drag in a sound and try to mold it into what feels right. It happens very quickly. And if I've been making a piece of music for five hours and it sucks, I'll just throw it away.

One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.

I usually create sounds and have different generators running over it. You know you can open a word-file as a picture or the other way round. I do the same with sounds.

I was completely fascinated by the studio process and layering sounds and creating soundscapes out of layering massive squalls of sound.

You can do a lot to shape the feeling of a song by the way you record it.

I screw up on the delay settings, so pretty much everything is manually done by me - I don't have those presets like the Edge has.

One of the rules of the road is that if you want to create the sense of silence, it frequently has more pungency if you include the tiniest of sounds. By manipulating what you hear and how you hear it and what other things you don't hear, you can not only help tell the story, you can help the audience get into the mind of the character.

Pretty much all the programming on our CDs is done by me personally, so I've kind of been able to have complete control of what sounds I'm looking for to complete a song.

The Strat covers the complete spectrum of human emotion .. the tremolo enables you to do anything - you can hit any note known to mankind

I'm very lazy when it comes to making the original sound. I don't go through amplifiers and different compressors and signal parts. I just grab something, whether its an old guitar or a children's toy that happens to be lying around, and record it straight into the computer.