A Quote by Jimmy Page
Having the facility to have this multitrack at home, I could try experiments with sort of all of the instruments, giving them different treatments so they didn't actually sound, necessarily, like the instrument itself.
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Initially, when I was making the bagpipes and reed instruments, it was different from the other instruments. In terms of sound itself, it may not be different, but in performing with it, it was a necessity to build it if I was going to perform and make scores with it. By making the instruments, it helped me compose the way I want.
I collect many ethnic instruments, and as a guitarist, I'm usually able to play any sort of instrument - as long as it has strings. That's why I like to experiment with different sounds.
Instruments sound interesting, not because of their sound, but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments, which is what you like and respond to.
I play these sort of comical instruments I invented, like the electric rake and the electric plunger. I do a lot of almost stand-up comedy material. Just the juxtaposition of the different styles in itself sometimes is funny. Like, I do sort of an acoustic version of 'Purple Haze' that has some bluegrass licks in it.
The body is a sensing instrument of consciousness. Without the body and mind,
the trees could not see themselves. Usually we think that we are looking at a tree, but the tree is looking at itself through us. Without this instrument, the tree does not get to see itself. We are sensing instruments of the Divine.
I was obsessed with the scientific instruments people were building and all the weird experiments they were doing. I did actually wind up working in some of that, but there were whole sections I'd written about these instruments that ultimately had to be abandoned when I realized that the book really was about Margaret Cavendish. I couldn't justify using all of them.
I use all types of instruments, really depending on the film. Instrument choices are very much tied to lighting, colors, art direction, as well as the narrative elements. I have a great collection of vintage synths, and of course I do like to write for acoustic instruments. I find the depth and intricacy of sound and emotion you can get with acoustic ensembles extremely versatile and effective in the overall sound environment. Also, the human aspect of performance is such an important part of the music score to character connection.
I've often tried to describe how memory works. I've suggested this to students, and told them to close their eyes and try to remember what I look like. Then I ask them if they remember what I look like. But when you open your eyes you will be surprised how different what you thought I looked like is to what I actually look like. Because the imagination is a different raw material from actual vision. Memory is very different from the thing itself.
I like to sort through music and see whatever pops out to me or inspires me. If I could have a production team going and kind of mix records with me, that would be cool; to take the records and have them sound the way I want them to sound. But I'd rather sort though music to find them things.
Sometimes it's nice to try different instruments because they have a different sound to offer and therefore your approach changes a little bit. But, I always come back to the piano.
My first instrument was my voice. I was always singing and writing melodies when I was a little kid. I just sort of taught myself whatever was around. If there were instruments around, I'd play them. I always liked the idea of not being shown but coming up with my own energetic connection to the instrument.
You are an instrument if you understand your voice and how to use it - this sound, that sound and certain ranges and different pitch. Within that I try to find a rhythm and play the voice as if it was a horn.
I actually think that bass is probably the instrument that has evolved in a quantum leap compared to other instruments. It's the instrument that's evolved the most, especially with how it's perceived. And even how it's played, and how it's viewed from a point of view of commerce, like with the music industry.
I guess I'm interested in pushing the boundaries of the cello without giving up on the idea of playing the cello, if that makes any sense. I have no real interest in putting the cello through different effects to make it sound like a guitar or other instruments.
A country survives its legislation. That truth should not comfort the conservative nor depress the radical. For it means that public policy can enlarge its scope and increase its audacity, can try big experiments without trembling too much over the result. This nation could enter upon the most radical experiments and could afford to fail in them.
We had a bunch of instruments around the house. Like, I played different instruments, trumpet, bass, drums, piano, all that, but whatever I could get my hands on.
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