A Quote by David Alpay

I know the lead singer of System of a Down, and I record violin tracks with him. — © David Alpay
I know the lead singer of System of a Down, and I record violin tracks with him.
If you're a lead singer, then you can't afford to be sensitive. On stage, everyone looks at the lead singer, even if you don't want them to - in America, they have those massive follow spots on you all the time; it does your head in. So, if you are a lead singer and you don't toughen up, you're in the wrong job, and you have to get out.
It's kind of great being a group without a lead singer, because the possibilities are sky high. Odd things become the lead singer, noises become the lead singer. It actually makes the thing much more flexible.
A friend of mine, Thomas Jules, who was the lead singer of Rudimental, is an amazing DJ, so I've got him to come down and give me some tips.
My dad used to do a lot of music when he was young, so he had an 8-track MiniDisc recorder, and when he realized that I was getting on with it, he brought it upstairs to my room and showed me how to record and how, once you finished eight tracks, you can cut it down to two and have another six tracks to play with.
As a lead singer, all I want to do is be in my own head and think about how great I am. That's a lead singer's disease.
I fancied being a lead singer. I've always done a lot of vocals, but obviously, Freddie is the lead singer.
The reason for backing tracks is to not veer off too far from the record and have what the fans actually want to hear. Artists use backing tracks just so they can stay close to the record and what the consumer heard for the first time. It's not to be confused with lip synching or anything like that cos that's not happening at all.
I started playing violin because I was fascinated by how violin players could play so fast. I would buy their cassettes, and learn different concertos, but then I started rounding out my collection. My dad was a big jazz fan, so I just started hearing a lot more soul music. I loved Little Stevie Wonder, and I got really into him as a singer and a writer as I got older.
You are a 64-track recording - the tracks are always there, they're always with you. Sometimes the harsh tracks are cranked up and the rest are rolled down to zero. Other times the sweet tracks are high and the darkness is low. But it's all you.
When 'Tracks' first came out, I was courted by Sydney Pollack. I had lunch with him, and he opened the conversation with, 'Honey, you ain't gonna like what I'm gonna do to your book.' I really liked him, but I turned him down, because - well, I was stupid. I also turned down a great deal of money.
Not many people come out of a big band as the lead singer/songwriter and making a record, and all of a sudden we're all happily sailing at the same pace as we were before.
Relying on words to lead you to the truth is like relying on an incomplete formal system to lead you to the truth. A formal system will give you some truths, but as we shall soon see, a formal system, no matter how powerful cannot lead to all truths.
There's a couple of tracks on the new record which is sort of using similar sort of rhythms as the drum and bass tracks but playing it all live. It's a new approach to it.
I used to want to be a backup singer. Not a lead singer, because I really can't sing.
As a young singer, a record company wanted me to be a rock singer. I told them I couldn't because I didn't understand the music.
I know that people don't listen to music much in the way when they'll put on a CD, sit down, have a drink or go on a car journey. People pick and choose and just listen to tracks. But when I make a record, I try to think about it as a 50 minute musical journey, so the mood is very important, as is the sequence of the songs.
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