A Quote by Brian Eno
If you think of the way a composer or say a pop arranger works - he has an idea and he writes it down, so there's one transmission loss. Then he gives the score to a group of musicians who interpret that, so there's another transmission loss. So he's involved with three information losses. Whereas what I nearly always do is work directly to the sound if it doesn't sound right. So there's a continuous loop going on.
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There is always a certain amount of 'transmission loss.' You can have a power generator and if the power is going on 100 miles away, even with very efficient cable there could be a certain amount of loss.
The composer must bear in mind that the radio listener does not hear music directly. He hears it only after the sound has passed through a microphone, amplifiers, transmission lines, radio transmitter, receiving set, and, finally, the loud speaker apparatus itself.
I think of depression as the mechanism that pushes down the pain of that loss. It tries to distance us from the loss but it lowers our whole energy level. I think that's a pervasive way we end up responding to loss or the anticipation of loss. Natural but not necessary.
Another interesting field, which is my own, is cofactors, not only to the disease but also to transmission. I am still puzzled by the fact that you get more sexual transmission in some ethnic populations. One way to answer this is to look for genetic factors.
The highest teaching is never written down. It's only communicated from teacher to student because it's a "transmission of the lamp." It's a transmission of mind.
I remember doing "As Cool As I Am" and Steve Miller, the producer, saying "I really hear a drum loop here. I want to play it for you." When I wrote it, I thought, "This isn't going to sound very folky. I don't think it's going to go with mandolins and banjos." Then he played the loop for me and it sounded right.
I think of every double-decker loop as another loop towards my death. And that is why I've always thought of the double-decker loop as - each loop as a continuous and individualized search for perfection.
A well-functioning transmission should at some point go from the overnight right up to 40 years, and that is the ultimate objective in having monetary transmission that affects the whole gamut of borrowing tenure.
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.
I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.
In the transmission of human culture, people always attempt to replicate, to pass on to the next generation the skills and values of the parents, but the attempt always fails because cultural transmission is geared to learning, not DNA.
Well, things hold up even if they sound dated. It can be very difficult to listen to 80s pop songs with really, really gigantic smashed drum sounds. You just want to turn that gated reverb down on the snare. It sounds wrong now. It sounds amateurish. And ugly. But at the time it sounded state-of-the-art. So yeah, I think it's important not to sound state-of-the-art in a way that anybody else is going to sound. Or you'll quickly sound like yesterday's state-of-the-art.
Since most of the transmission is sexual transmission, you have a regional or local response to the virus.
I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.
Historically, there is a fight between the sound designer and the composer. You see them in the mixing room and they're always fighting because the composer wants the music to be heard and the sound designer wants the sound to be heard.
There really is only one ending to any story. Human life ends in death. Until then, it keeps going and gets complicated and there's loss. Everything involves loss; every relationship ends in one way or another.
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