A Quote by Eric Benet

For me, when I want to be emotionally moved by a vocal, I don't want to hear auto tune on it, I want to hear the beautiful imperfections. — © Eric Benet
For me, when I want to be emotionally moved by a vocal, I don't want to hear auto tune on it, I want to hear the beautiful imperfections.
If I want to be moved by the track, I don't want it to be sequenced, I want it to be somebody playing the guitar or piano or a horn arrangement where you can hear the breath. You can almost smell the studio while listening to the music. For me, that's what moves me emotionally, that's what I came from. I think that's always going to work best for me.
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.
I have no patience with people who want to tell me what's wrong. I only want to hear from the person who first tells me the solution and then fills me in on the problem. I don't want to hear that your basement is flooded. I want to hear that you've found the number to the cleanup company. Then tell me why you're calling them.
I'm coming into places with some people who just want to hear what I did before, with some people who want to hear me with a band, but I am just at the moment sticking to my guns and saying, 'You know what? I want you just to hear this for a minute. I want it to be in the context of me and a guitar.'
The trouble is, most people are not so generous. Everybody wants love for themselves. I hear this all the time from the women I work with. I hear them say, "I want, I want." I never hear them saying what they want to give.
When I write a book... it's the same essential approach to music as with books. It has to be something I want to hear or read. Hopefully the audience comes along, since that's the only way you can write righteously. I have to ask, 'What do I want to hear?' not 'What do people want to hear?'
People say, "How would you like to be remembered?" I don't want to be remembered. Gimme a break. What I want is to hear what's great about me now. Let me hear it! In the box you don't hear these eulogies.
You may hear the most beautiful things, you may hear promises, you may hear everything you want to hear but if the person you're dating is not following up with their actions then they're just words.
There's a perception that if an artist produces another artist, they're going to imprint on them. But I'm the opposite. I want to hear that artist; I don't want to hear me - that's the last thing I want to hear. There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.
Our failure to hear His voice when we want to is due to the fact that we do not in general want to hear it, that we want it only when we think we need it.
I want to hear raucous music, to see faces, to brush against bodies, to drink fiery Benedictine. Beautiful women and handsome men arouse fierce desires in me. I want to dance. I want drugs. I want to know perverse people, to be intimate with them. I never look at naive faces. I want to bite into life, and to be torn by it.
It's not that I don't want to hear about that [blow job] stuff, I just want to hear about it immediately. And I want to hear about it on more comfortable terms.
I want you to hear how I can tell stories. I want you to hear how I can make these records about these females and make them feel every way I can. I want you to feel my magic. I want you to respect me and my artistry.
I want to hear the artist. I want to hear them give me something that I can relate to, other than the fact that everything's about bragging.
When I attack a role, be it TV, film or stage, the first thing I say is, I don't want to know anything. If it's good I don't want to hear it; if it's bad I don't want to hear it. The only thing either thing can do is distract me. I like to stay focused.
When I attack a role, be it TV, film or stage, the first thing I say is, I don't want to know anything. If it's good I don't want to hear it; if it's bad I don't want to hear it. The only thing either thing can do is distract me. I like to stay focused
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