Sound Production Quotes

I conclude that the musical notes and rhythms were first acquired by the male or female progenitors of mankind for the sake of charming the opposite sex.

I have a very limited knowledge of recording, but the miracle of being able to capture sounds on magnetic tape and the miracle of electricity, and these little magnetic particles, is amazing to me.

For the 'Load' album, I was experimenting so much with tone that I had to keep journals on what equipment I was using. For 'Hero of the Day,' I know I used a 1958 Les Paul Standard with a Matchless Chieftain, some Boogie amps and a Vox amp - again, they're all blended.

It was not the man's brain that was speaking; it was his larynx.

In accordance with the foregoing investigations on mathematical principles, let bronze vessels be made, proportionate to the size of the theatre, and let them be so fashioned that, when touched, they may produce with one another the notes of the fourth, the fifth, and so on up the double octave.

The sibilant s is the most difficult sound to correct.

Your sound is in your hands as much as anything. It's the way you pick, and the way you hold the guitar, more than it is the amp or the guitar you use.

I love loud music. I listen loud, and that's part of how I've learned how to do this. Record softly and play back loud and a whole other thing happens.

First, I try to take everything away that doesn't matter to singing. It sounds simplistic, but it works. There is absolute focus on singing: producing sounds and emotions that I have always enjoyed. This is key.

And EDM music grabbed my ear and got my attention and I started realizing that the computer was, in the same way that the saxophone was invented in the late 1800s and guitar in the 1930s, an instrument.

Dave Guy, the trumpet player, is an incredible musician. He came into the studio one day, and they had just cut a cover of "Sign, Seal, Deliver" for something with Sharon Jones, and I just was blown away by how they got that sonic. I mean, it was just so much the real deal.

Most people don't take some things into consideration. When they hear an album, they hear the artist or they hear the lyric or they hear the melody. But they don't really think about the environment in which it was recorded, which is so important. It's that thing that determines what the album sounds like.

Our job as producers is to make the music sound as good as possible.

Some animals utter a loud cry. Some are silent, and others have a voice, which in some cases may be expressed by a word; in others, it cannot. There are also noisy animals and silent animals, musical and unmusical kinds, but they are mostly noisy about the breeding season.

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.

When we were recording, sometimes I wondered if what we were doing would even be possible to play live.

It is not solid wood that can become a flute, but the empty reed.

We listened to a lot of Rolling Stones and Beatles records when we were recording. They were really good at not playing loud, but generating really big sounds out of everything.

The medium of poetry is not words, the medium of poetry is not lines-it is the motion of air inside the human body, coming out through the chest and the voice box and through the mouth to shape sounds that have meaning. It's bodily.

You have this resonant box that sounds cool when you smack it, so why not go for it?

I am producing sounds that people are not used to hearing from the harp.

I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.

When I started to play trumpet I was fortunate to learn very quickly.

As our larynxes descended, we were able to make sounds with our mouths in new and far more expressive ways. Verbal language soon overtook physical gesturing as the primary means of communication for all human beings except Italians. (Earth (The Book), p. 36)

I played trumpet in the school bands. I learned things I liked to play on my trumpet, but I didn't learn why this note goes with this note and why it produces that sound. Or how to create tension in the composition.