A Quote by Richard Meale
I've always worked at the piano; I like to hear what I'm doing, I like the sound, to hear the actual sound. I get bored just looking at a manuscript.
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I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
Every now and then, when you're on stage, you hear the best sound a player can hear. It's a sound you can't get in movies or in television. It is the sound of a wonderful, deep silence that means you've hit them where they live.
It's like I'll sit down and put my hands on the piano or the guitar, and then I'll hear a sound or I'll feel a chord that will resonate and then I'll get something happening in my voice. My voice is like a car that I get into and drive but I don't know where I'm going. And I record everything. And often, I sort of get into a state, a creative state that is, where I'm just feeling around melodically, and playing things off the top of my head. Then I go back and listen to it and for the first time, hear what I just did. It's like Elvis has left the building while the thing is happening.
I'm not sure I'm going to be that type of artist but I do love cultural icons. Like Solange has been really great at that. Releasing her album end of last year and being really strong in their sound, bands like Little Dragon, artists like James Blake. You know their music when you hear them. They have a really particular sound and it's really cultural and people copy that sound. You hear it in other songs and you're like 'That's a James Blake tune'.
The people who go get an LL album want to hear LL. They don't want to hear LL trying to sound like DMX or whoever else is out there. That's not what they want to hear from me, because if they want to hear that they can go get the real thing.
A lot of solos I hear sound so incredible, but they sound like somebody practicing. They sound a bit soulless - fiery, but at the same time, lacking in spirit and soul.
Now I will do nothing but listen to accrue what I hear into this song. To let sounds contribute toward it. I hear the sound I love. The sound of the human voice. I hear all sounds running together.
I like to hear the sound of form, and I like to hear the sound of it breaking.
Like many musicians, I can hear the weight in the sound. Sound is matter. We speak of the colour of an instrument, of transparency... We can demand more sombre or lighter colours, deeper playing and singing, heavier or lighter sound. And manipulating those means is like creating a painting.
I despair about the lack of proper respect shown for the piano. If you want it to sound like a traffic jam, go out in the street and forget the piano. That's not a piano sound.
We constantly try to change and stay fresh. We've done a lot of different styles of music: R&B, hip-hop, rock, orchestral. So when people hear us doing a rock'n'roll record or a movie like "Dreamgirls," they'll say, "Hey, that doesn't sound like an Underdogs sound."
You can't hear a word and just hear it as raw sound; it always evokes an associated meaning and emotion in the brain.
A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.
It's like that Simpsons joke - they're filming a cow in a movie and they go, 'OK, we'll tape a bunch of cats together to make a cow', and it's like, 'Why don't you just use a cow?'. For some reason that is novel - like, 'Oh, my guitar sounds like a piano and now if I can just get my piano to sound like my guitar'.
If sound is music and came from silence, then silence is potentially greater than sound. If the sound is effective, it should actually have a chemical - some sort of physiological - effect on the listener, so he doesn't have to hear that sound again.
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