A Quote by Brian Eno

I mostly used the studio devices, because I knew what they had. Generally I find I'm happy to use whatever's around. If there's nothing there I'll make something. For example, one of the things I tried doing was getting a tiny loudspeaker and feeding the instruments off the tape through this tiny speaker and then through this huge long plastic tube - about 50 feet long - that they used to clean out the swimming pool in the place where I was staying. You get this really hollow, cavernous, weird sound, a very nice sound. We didn't use it finally, but nonetheless we well could have.
There's a very old recording maxim that goes, 'Distance makes depth.' I've used that a hell of a lot-whether it's tracking guitars or the whole band. People are used to close-miking amps, but I'd have a mic out around the back, as well, and then balance the two. Also, you shouldn't have to use EQ in the studio if the instruments sound right. You should be able to get the right tones simply with the science of microphone placement.
And if something came along that didn't sound so good, it perhaps didn't always get out there as it should have. But given the fact that she [Eleanor Roosevelt] had the help, nonetheless she knew how to use it. And she used it very effectively.
Ampeg made incredible guitar heads in the early Nineties and then stopped. And I don't know why. The one we used had a nice clean, warm sound, and it blended well with the other amps that were in the studio.
Well there's only one way to prepare for playing beach volleyball, and that's by getting in the sand. But offseason is really important because generally I'm staying off the sand and getting my feet under me, and it's really important for my body to know what it feels like to have sound footing under me.
I did speak out about celebrities because I thought it was appalling. I thought that if the cartoon became popular, it was only going to last as long as the career of the people who are in it. They didn't make up timeless voices. They used their own. They brought nothing to the table, in other words. There was no alchemy. That's why a cartoon was so alluring, was that a human being went into a place and created this supernatural sound, or whatever sound it was supposed to be that was totally unlike their own, and did it in multiples.
In thinking of light, if we can think about what it can do, and what it is, by thinking about itself, not about what we wanted it to do for other things, because again we've used light as people might be used, in the sense that we use it to light paintings. We use it to light so that we can read. We don't really pay much attention to the light itself. And so turning that and letting light and sound speak for itself is that you figure out these different relationships and rules.
Think of the sound you make when you let go after holding your breath for a very, very long time. Think of the gladdest sound you know: the sound of dawn on the first day of spring break, the sound of a bottle of Coke opening, the sound of a crowd cheering in your ears because you're coming down to the last part of a race--and you're ahead. Think of the sound of water over stones in a cold stream, and the sound of wind through green trees on a late May afternoon in Central Park. Think of the sound of a bus coming into the station carrying someone you love. Then put all those together.
I never wanted to sound clean and pretty. In jazz, I felt I could sing these deep, husky lows if I want and then these really tiny laser highs if I want as well.
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.
I use all types of instruments, really depending on the film. Instrument choices are very much tied to lighting, colors, art direction, as well as the narrative elements. I have a great collection of vintage synths, and of course I do like to write for acoustic instruments. I find the depth and intricacy of sound and emotion you can get with acoustic ensembles extremely versatile and effective in the overall sound environment. Also, the human aspect of performance is such an important part of the music score to character connection.
I mean, I could tell that I really had... a precious gift. And I'm so glad that I have followed through with it and really used that gift and nurtured it, honed it, made it sharp and tried to use it as a tool now to make music and to make a living for my family.
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.
My mom couldn't afford dance shoes, so she put me in these old cowboy boots with a hard bottom so I could get some sound out. I used them for seven months. When I finally got real tap shoes, I was nervous. I kept moving my feet, thinking, 'Oh, so this is how it's supposed to sound.'
Wardruna is a combination of old and new. I use historical instruments and new and electronic instruments and tools. I use drones and samples to build these huge sounds. Sometimes just a sound can trigger words or melodies. I don't have a romantic notion about the past; with Wardruna I wanted to create something new using something old.
I was so unsuccessful for so long. I was used to the word no. I was used to you're not good enough or not quite there or you need to fix this about you. So I am honestly walking in faith every single day that I am going to be able to handle whatever God has for me. I am not used to being in a place where people appreciate my work and understand my work and want to be a part of my work and getting something out of my work because for so long it was so misunderstood. The success part for me is the hardest part and everyday I'm still battling.
I spent my twenties not really participating in the work force in any real way. I acted a tiny bit, but that was just because it was the only way I knew how to make money, and I sublet my apartment and lived in the woods and just tried to figure out who I was and what I wanted, what my real desire was and not just what I was used to doing, and it was a really confusing and painful, but really rich and amazing time.
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