I mean, Chris is, I'm sure, a wonderful guy. But in those days he also very, very late. For all appointments and departures and arrivals and sound checks and anything.
The Apple has the fewest bells and whistles. It has simple sound and few graphics special effects. In a way, that is a weakness because markets for the other machines are getting bigger.
I hear a lot of bad TV commercials that try to sound like Where It's At. That pretty much turned me off from using the electric piano for a lot of years.
Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes.
From doing Power Station, it was like, it's the same guys, but it doesn't sound like them. When we were in Duran, the labels and management wanted more Duran stuff so they could sell it.
In the late 60s and early 70s, I did get interested in voices, and in narration and embodying the voice, making the poem sound like a real person talking.
The one thing you don't want is that stale sound when you've done a line so much you can't find a fresh approach to it. Drop it.
Heard in full sound, the Gospels tell about the establishment of a theocracy, and portray what theocracy looks like with Jesus as king.
When you hear a large symphony orchestra. for instance, in a concert hall, there's a big, sweeping sound that just doesn't get on to a record.
I delight in music and calm down, but there's no one here, I'm just alone and my sound which I love.
you need to listen to the silence in order to hear the messages from universe..because beyond the silence there's more sounds connecting you with universal powers..
I am a fan of today's sound as long as we don't get too slick, and yet I am very reverent of my roots.
As a child, you respond physically, tactically. You're delighted by sound, you're delighted by recognizing something. It's like hide and seek. Is it there? Is it not there? Is it this note? Is it not this note? It's one fantastic game.
It sounds kind of stupid, but I've never not wanted to be a musician. It's been inside me since I was little so I don't know what else I would do.
I read Carver. Julio Cortazar. Amis's essays. Baldwin. Lorrie Moore. Capote. Saramago. Larkin. Wodehouse. Anything, anything at all, that doesn't sound like me.
I hardly ever watch my own work. I just end up picking myself apart! I can't even stand to hear myself on voicemail. the sound of my own voice is like nails on a chalkboard. The same goes for my records.
I know this sounds phony, but I don't start out on a project going, 'I'm going to make an emotional work,' you know what I mean? You try to tell the story directly and honestly and with passion.
I wouldn't say I worked with these people because I was looking for a particular vocal sound. I worked with them because I loved what they had done before-and because they really wanted to work with me.
I'd also like to do a play. I've never done theater, and constantly changing and refining a performance is something I'd like to do, even though it may sound like work to some people - and it probably is work.
So many of the sounds that contemporary composers were trying to create were to be found in the traditional musics of the world. That was encouraging but also little daunting to think that you had to work so hard to be new and yet it was old.
The sad irony here is that the FDA, which does not regulate fluoride in drinking water, does regulate toothpaste and on the back of a tube of fluoridated toothpaste … it must state that “if your child swallows more than the recommended amount, co...
