A Quote by Daniel Barenboim
Sound is often talked about in a very subjective way, as if it had a colour. This is a bright sound, this is a dark sound. I don't believe in that because I think that is much too subjective.
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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.
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.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
My dark sound could be heard across a room clearer than somebody with a reedy sound. It had more projection. My sound always seemed to fill a room.
We look so very different from the way we sound. It’s a shock, similar to hearing your own voice for the first time, when you’re forced to wonder how the rest of you comes across if you sound nothing like the way you think you sound. You feel dislodged from the old shoe of yourself.
I'm very fussy about how my records sound, but I'm very aware that because of the way they sound, I will never be a big-selling, mainstream artist because the public has gotten conditioned to hearing pop music in a certain way. And I don't do it that way.
Music is the celestial sound, and it is sound that controls the whole universe, not atomic vibrations. Sound energy, sound power, is much, much greater than any other power in the world.
In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.
Generally, you are held to a sound and that becomes your sound. That gets branded as your sound, and all the copycats start with it because the labels are looking for that sound.
When I think of Marilyn Monroe, and achieving her sound, I think of having a rather large bust. I think of her physically and I am just able to create her sound, because her physicality was so much to do with her sound.
Every technology that comes into filmmaking is first a gimmick. Think about sound with 'The Jazz Singer' or the first colour or surround sound - it takes a while for filmmakers to understand how to use it.
Sound is your friend because sound is much cheaper than picture, but it has equal effect on the audience - in some ways, perhaps more effect because it does it in a very indirect way.
Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me. I use direct sound, mono not stereo. Just direct sound, so for every shot there are only two sources. Sound creates an intimate effect: the sensation to feel the place. It makes the viewer enter. You have the liberty to hear what you want.
There's a difference between writing, the written word, and music. When you have the blank page it doesn't make a sound, which is like what happens to me every night when I'm playing. There is that crazy moment: the first mark you make on the page. But sound can inspire sound, in a way that words can't inspire words - at least for me. The nature of sound itself is still a huge mystery to me. I'm very happy about that.
I think that too many people think too much about my lyrics. I am more a person who works with the sound of a word than with its meaning. Often I just choose the words because of the rhythm not because of the meaning.
Like many musicians, I can hear the weight in the sound. Sound is matter. We speak of the colour of an instrument, of transparency... We can demand more sombre or lighter colours, deeper playing and singing, heavier or lighter sound. And manipulating those means is like creating a painting.
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