A Quote by C418

I want to make sound effects for biomes. If you're walking along a river you hear the water, then in the forest you hear birds, but as night comes in, it becomes kind of weird, you can walk through a desert, a swamp, and the sounds merge and change with you.
When you hear that howl alone at night in the forest, it's one of the most frightening sounds you'll ever hear.
Now I will do nothing but listen to accrue what I hear into this song. To let sounds contribute toward it. I hear the sound I love. The sound of the human voice. I hear all sounds running together.
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.
If we choose to walk into a forest where a tiger lives, we are taking a chance. If we swim in a river where crocodiles live, we are taking a chance. If we visit the desert or climb a mountain or enter a swamp where snakes have managed to survive, we are taking a chance.
Sound sounds are terrible in the city, but it's great to listen and to walk and listen to people talk to each other. There are birds. You hear spring. I like listening to the city.
If you walk into a forest - you hear all kinds of subtle sounds - but underneath there is an all pervasive silence.
When you're listening to radio and hear the same 20 songs over and over and over, you want a break from it. Sometimes you don't want to hear something that sounds just like everything else on the radio. Eventually, if you hear the same sounds and the same musicians and the same mixes and all of that, it will start to sound like elevator music.
You are walking in a desert.You hear a bird singing.As absurd as it may seem for a bird to be pending in the desert,you are obligated to make it a tree.That's poem
When you go out and audition, you're going to hear a lot of 'No's.' As weird as it may sound, you almost have to love hearing 'no' because you're going to hear it way more than you hear 'yes'.
You can be in terrible shape, and if you take a three-hour walk through the forest and along the river, you're simply not the same as when you started out.
Lik the tree falling in the forest," says Ira. "Huh?" "You know, the old question - if a tree falls in a forest and no one's there to hear it, does it really make a sound?" Howie considers this. "Is it a pine forest, or oak?" "What's the difference?" "Oak is a much denser wood; it's more likely to be heard by someone on the freeway next to the forest where no one is.
The people who go get an LL album want to hear LL. They don't want to hear LL trying to sound like DMX or whoever else is out there. That's not what they want to hear from me, because if they want to hear that they can go get the real thing.
All night I dreamt of bonfires and burn piles and ghosts of men, and spirits behind those birds of flame. I cannot tell anymore when a door opens or closes, I can only hear the frame saying, Walk through.
When you hear a great two-track of a performance in Carnegie Hall, let's say, it sounds like you're right there at that moment. It's true to reality. And the closer it gets, once it gets too technical, it becomes very tinny to hear notes. It doesn't sound right. It has to be natural.
I was once walking through the forest alone. A tree fell right in front of me - and I didn't hear it.
So every time I make a new circuit, a new time around, then I change the show. You can't change the songs; people still want to hear "Lady Sings the Blues" and they still want to hear some of the oldies.
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