A Quote by Cass McCombs

I think I prefer singing in falsetto. I like the way it sounds. It doesn't sound like my natural voice. It sounds like a character. — © Cass McCombs
I think I prefer singing in falsetto. I like the way it sounds. It doesn't sound like my natural voice. It sounds like a character.
I like the natural sound of a room. All the rooms have their own sound, so it's a matter of putting it where you like and seeing what it sounds like.
What's funny about my voice is, no matter what I sing, I sound like I'm really sad. I don't even mean to do it, it's just something my voice has. I think that's one of the reasons why Okkervil has been dubbed as really mopey - I have this tone to my voice that sounds like that.
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.
I like [George] Benson because I just like it. I like that kind of style. I don't like the broken up kind of style. I don't like where you play for 16 bars and then break it up into what somebody's version of what birds twittering sounds like, or what the sound of the city is, or what New York sounds like.
I prefer people to say to me, 'You're one of my favorite actors,' rather than 'You're one of my favorite character actors.' It sounds like a slam. At least it sounds that way to me.
I'm a natural baritone, so I had challenges in that middle range, which would be that tenor area, singing in my natural voice. And I worked on that. But basically the falsetto thing, I didn't even know it was a falsetto until a music teacher commented on it, that I had a very nice falsetto. I didn't even know what it was. I said, 'Oh, OK.'
People say that the Beavis voice doesn't sound like me or some other voices. Butt-Head I think sounds like me.
When I make music, I often sound better singing as a woman, go figure, so I like to tweak the format and pitch and suchlike of my recorded voice. Sounds better.
I know there's bands that might write something that sounds like The Smiths, and they'll go, 'Oh, it sounds like The Smiths, we've got to make it sound not like The Smiths.'
I definitely see the voice as an instrument: It makes great drums, great synth pads, great everything. Vocals can be so many things, like, "Hey, I'm Michael Jackson, and this is my iconic voice," or a choir of people sounding like Mozart's Requiem. Mariah Carey is my favorite singer because her voice sounds utterly groundless. It's not even a human voice; it almost sounds mechanical.
I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.
I think whatever we've done as a band at The Clientele, we've done because it's so natural. Our "old" sound isn't really like any actual bands from old times. We take elements of past music styles and past sounds as a way to... this is going to sound very pretentious and perhaps overly thought-out, but as a way to strike chords of vague nostalgia, and strike chords of, "I've heard this before somewhere." That's what a lot of our music is about in terms of the words and ideas behind it, so we really use old sounds as a way to serve that agenda.
I don't know if it's possible to affect my ego any more. There's no room left. For me, I think I make music like the way I think it should be made, like what rock should sound like. It has nothing to do with the current marketplace. And so from that state of mind, it's gonna sound different from anything else out there. And when something sounds different, I think that can be inspiring to other musicians.
Many people say to me, particularly about my dance writing, 'It sounds just like you.' But it sounds just like me after I've made it sound like me.
I have a really feminine voice, but I also feel quite powerful when I write. So my songs feel heavy, and that's how Banks sounds. It's a really short, powerful sound. It almost sounds masculine, and I like having that dichotomy.
The rush of creating sounds and mixing sounds is always an interesting challenge, especially for someone like me, who doesn't know about sound.
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