A Quote by Bryce Dessner

I love the physicality of instruments, and instruments as objects, like dancers are bodies. — © Bryce Dessner
I love the physicality of instruments, and instruments as objects, like dancers are bodies.
At that time, 73 and 74, I became aware that there were a number of us making instruments. Max Eastley was a good friend and he was making instruments, Paul Burwell and I were making instruments, Evan Parker was making instruments, and we knew Hugh Davies, who was a real pioneer of these amplified instruments.
Dancers are instruments, like a piano the choreographer plays.
My work on hyper instruments started with simple instruments, like the piano.
I like big shows, a lot of volume and a lot of energy. I love electric instruments. But I do love mixing those with bluegrass instruments and cranking those up, too, with a little bit of that rock energy.
I still think that I'm playing instruments, not just pushing buttons and there it goes. It's interactive and alive with the sound and the manipulation and it plays like instruments.
I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.
Initially, when I was making the bagpipes and reed instruments, it was different from the other instruments. In terms of sound itself, it may not be different, but in performing with it, it was a necessity to build it if I was going to perform and make scores with it. By making the instruments, it helped me compose the way I want.
God never intended for us to simply be the objects of His love. We are also called to be the instruments of that love in the lives of others.
We had a bunch of instruments around the house. Like, I played different instruments, trumpet, bass, drums, piano, all that, but whatever I could get my hands on.
I brought the music out to L.A., and the producer Tommy LaPuma heard it and he said - "Man, I love it. Let's do it. Let's record it." I said, "Okay, where's the band?" He said, "We don't have a band. We want it to sound exactly like your demo." I said, "Well, I played all the instruments on the demo." You do that when you're making demos. You got your guitar, you got your sax. He said, "Well, I want it to sound just like that, so get all your instruments out here." So I ended up playing all the instruments.
Not only are we not using any programmed loops or computers onstage, we're also improvising with our instruments. We're playing our instruments probably more so than most people that I see play their instruments. I think we all sort of strive for that - we all want magical things to happen onstage. We don't say "mistakes" in this band, we call them "highlights."
I especially love all the instruments of art: inks, pens, paintbrushes, watercolors and oils, fine papers and canvases, and although I love to mess around with these tools and objects, I have minimal artistic skills.
Arms are instruments of ill omen, not the instruments of the gentleman. When one is compelled to use them, it is best to do so without relish.
In the studio you have pretty much carte blanche with whatever you're doing. You can turn natural instruments into electronic instruments.
I mix Indian instruments with Western instruments all the time.
I have played Yamaha instruments since I was young, specifically their alto saxophones, and I have always appreciated their top-notch quality when it comes to making instruments.
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