A Quote by Anirudh Ravichander

I did sing a track for Dhanush's '3,' but that's because the track required a voice like mine. — © Anirudh Ravichander
I did sing a track for Dhanush's '3,' but that's because the track required a voice like mine.
When I opened my mouth to sing as a kid, I kind of randomly had a really good singing voice. And so that put me on the actor track and the musicals track.
In track years... track is not like other sports. You do have track athletes that stay in this sport until, like, 35, 36, but I think when you get to 28, it's really difficult.
I'm not a singer. I double-track my vocals. I'm just not secure in my voice. I can't do single-track - I sound weird.
I did volleyball, basketball, and track all through high school. And then I went to junior college and I stuck with track because I was good at shot put and discus. And then I got a full ride to Fresno State for their track program. Shot put was my main thing. I was the five-time All-American, and I set a couple records.
I did a track with Khao, out of Atlanta, who's worked with T.I. Did a track with Maylay, who did a lot with John Legend's album. I got in the studio with Kanye West; we did a song. The dedication for the career takes a lot of work, but if you love it, it's worth it.
I love short track. I competed in short track, I was a world champion in 1986 but at that point in time it wasn't in the Olympic Games so I moved into long track. Short track is a blast to skate and it's a blast to watch.
We created the hierarchical, pyramidal, managerial system because we needed it to keep track of people and things people did; with the computer to keep track, we can restructure our institutions horizontally.
When you listen to someone sing from inside their head, their same mix, and you listen to their voice as loud as they like it, or the track of the band as low as they like it, you can really hear all of the nuances and the mistakes if there are any.
I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of sending signals from one track back to another track, or to the same track, or crisscrossing them and so forth. I worked on masking the delays so when I played into the machine, I would make long tones and collect sounds in such a way that you didn't hear the delay, although sometimes you did.
I find in America, actually, I actually prefer it because it's all about energy. It's all about making everyone feel happy and smiling. In the U.K. sometimes people are a bit too concerned about, 'Did you play that track? Did you play that track?' It's not so much about the music in the U.K.
Growing up in the sport, I've been able to separate what happens on the track with what happens away from the track. That track is totally different. I'm not the same person when I put that helmet one.
I will never, never ever sing on stage, but when I'm in the studio, I do sing melody lines. When I'm working with singer-songwriters, and I hear melodies, I can guide them. I will be like, 'Oh no, do this this this.' But you will never hear my voice on a Martin Garrix track.
Once a composition is complete I sing the track and send it to the director. He sometimes suggests I record them in my voice, and I go ahead.
I'm measuring my actions against that inner voice that for me at least is audible, is active, it tells me where I think I'm on track and where I think I'm off track.
I've been doing four-track songs by myself since I was like a teenager, where I'd sing in a way that I ... I just didn't think other people would like it, so I didn't play it for them but eventually I got over that, which I'm happy that I did, because it's kind of a drag to be playing a kind of music that you don't really like as much as another kind.
Each track has to be precise, and that is a problem on a rhythmically complex track like 'Slaughtered.'
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