A Quote by Sunny Murray
I was able to interpret the difference between the sharp, quick sound and the slow, deep sound of percussion and manipulate it, get a third sound out of things, if the beats were rapid enough.
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You know, as I'm progressing with my sound, I just realize when you got a simple sound with crazy percussion in the beats, it makes it. It kinda shapes my sound when it comes to what makes a Tay Keith beat.
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.
It becomes evident that when the Life-power awakens its mysterious activity at the beginning of a cycle of manifestation those vibrations which we recognise as sound come into existence before the more rapid pulsations of electricity and light. Thus modern science confirms the ancient occult teaching that sound is the root of physical existence. 'It is out of Sound that every form comes, and it is in Sound that every form lives.
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.
There's a difference between writing, the written word, and music. When you have the blank page it doesn't make a sound, which is like what happens to me every night when I'm playing. There is that crazy moment: the first mark you make on the page. But sound can inspire sound, in a way that words can't inspire words - at least for me. The nature of sound itself is still a huge mystery to me. I'm very happy about that.
There's no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world - they make the sound, not you. It's very restricting to always use a library for sound effects. It's much more interesting and freeing to go out and record new sounds because you never know what you're going to get.
And if there are no cars or planes, and if no one’s Uncle John is out in the wood lot west of town banging away at a quail or pheasant; if the only sound is the slow beat of your own heart, you can hear another sound, and that is the sound of life winding down to its cyclic close, waiting for the first winter snow to perform last rites.
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.
Sound comes to us over time. You don’t get a snapshot of sound. Therefore, what you notice with sound, the essential building block, is change.
Generally, you are held to a sound and that becomes your sound. That gets branded as your sound, and all the copycats start with it because the labels are looking for that sound.
One of the main things I look for in a guitarist is in the sound itself. I go for a certain sound, and I think it's an important thing for making a player more identifiable in the big giant pool of musicians out there. You want a sound that people will recognise just as much as your playing.
When I think of the things that I want to write, I can never say them out loud because I know how crazy they sound. I know what things sound like when you haven't actually worked on the script, so I don't go around saying some of these ideas because they just sound awful.
We never look deeply into the quality of a tree; we never really touch it, feel its solidity, its rough bark, and hear the sound that is part of the tree. Not the sound of wind through the leaves, not the breeze of a morning that flutters the leaves, but its own sound, the sound of the trunk and the silent sound of the roots.
It's really the sound of the voices, the sound of the words, the sound of the sound that we're interested in.
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.
Watson, ... if I can get a mechanism which will make a current of electricity vary in its intensity, as the air varies in density when a sound is passing through it, I can telegraph any sound, even the sound of speech.
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