A Quote by Alexandre Desplat

I'm a flutist so I know what they can deliver in terms of texture and sound and blurriness and softness. It's a very soft instrument. — © Alexandre Desplat
I'm a flutist so I know what they can deliver in terms of texture and sound and blurriness and softness. It's a very soft instrument.
In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.
I don't think I'm even close to fulfilling my potential. And I think also that, unlike a pianist or a flutist, an actor has an instrument that is constantly changing.
Using modern guitar techniques and modern methods on an early instrument is not a very clever thing to do, because it is the authentic spirit of the instrument that should dictate the quality and characteristic of the sound.
This soft grass suggests 'softness' to me, but also at the same time 'lying-down-ness'.
I've always been very inspired by people who can make their instrument sound very natural.
The piano is an instrument that can easily sound overly thick, and I love to think that I can work with textures - particularly the inner textures inside the melody or the bass line. There is an analogy there with painting; I love paintings where you see colour underneath the colour and, underneath that, more texture and shape.
The impression of wood-grain... must be considered, not only as regards texture and visibility, but for the occasional possibility of the expression of form. A soft wood, with hard annulations, such as fir, prints very dearly.
Since I first picked up the violin, I've been very interested in tone and texture: I would have very visceral reactions to the texture of a snare drum or a pedal steel guitar or a violin.
The piano is an instrument I've always loved and so I taught myself. As a rapper, who wants to produce more, being able to play by ear helps a lot because I know where I want an instrument to turn or how I want it to sound without having to do too much work.
What I like about the piano is that it's a beautiful hybrid instrument in the sense that it can sound very warm but also very cold.
I know texture is really important, but I think texture and stuff precedes songwriting a lot of the time these days.
Go for a short walk in a soft rain - lovely - so many wild flowers startling me through the woods and a lawn sprinkled with dandelions, like a night with stars. And through it all the sound of soft rain like the sound of innumerable earthworms stirring in the ground.
I love the sound of voices singing together, congregational singing, anything like gospel, or folk, or sea shanties. I spent quite a bit of time in choirs growing up, and in the world-touring music group, Anuna. It's a sound with very rich texture, voices singing together.
I had a number of very strong personalities in my family. My father was a concert flutist, the solo flute for Toscanini.
I'm not going for a soft sound. I ain't lookin' for a warm sound. My sound is warm, but I don't need tubes to do it. The Randall RG-100 is the best amp for what I do.
Your mallet or your stick goes through the instrument, the sound goes out and then wherever the sound goes nobody knows, you know.
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