A Quote by Brian Setzer
It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.
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A lot of the time, in pop music especially, there's reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out.
turns me on so loud it's like no sound, everybody yelling at me hands over their ears from behind a glass wall, faces working around in talk circles but no sound from the mouths. my sound soaks up all other sound.
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.
My guitar sound pretty much came from discovering there was reverb on my little practice amp and really loving the mood it created.
There's a big gaping hole in the EDM space for songwriting. It's one thing to learn how to be a great sound designer and become big just on sound design. Especially if you're in the dubstep category, it's like, how much fatter and more interesting can you make those drops.
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.
When I got my first Marshall amp, it was so empowering. No one ever forgets their first Marshall amp if you're a guitar player pursuing a big powerful sound. I mean, no one ever forgets their first Marshall amp.
It might sound strange coming from a home secretary - I'm a big fan of immigration and what it means for our country, in terms of how it makes us stronger.
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.
When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.
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.
When I was 14 years old, I had the opportunity to meet Buddy Holly. I asked him how he got that big, powerful sound out of his guitar amp. He said, 'I blew a speaker and decided not to get it fixed.'
I'm not a big fan of the gym, I do lots of outdoor aerobics - yoga, swimming, running - but I kinda hate talking about it. We have a term in Australia, it makes you sound like a wanker.
For me, the sound design and the musical score is a big part of what makes scary movies work.
Im not a big fan of the gym, I do lots of outdoor aerobics - yoga, swimming, running - but I kinda hate talking about it. We have a term in Australia, it makes you sound like a wanker.
I use a progressive alarm that makes a soft sound at first and then progressively gets louder. But I usually wake on the first sound, so it doesn't disturb my wife. When I used a loud alarm clock, I was more likely to hit it on the head and go back to sleep.
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