A Quote by Hildur Gudnadottir
It's like an electroacoustic, surround-sound cello gamba. It embodies everything that fascinates me the most - acoustics, playing instruments, digital processing, movement of sound. Somehow, everything is combined in Ómar.
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I guess I'm interested in pushing the boundaries of the cello without giving up on the idea of playing the cello, if that makes any sense. I have no real interest in putting the cello through different effects to make it sound like a guitar or other instruments.
It started when I was eight years old. I first heard the cello on the radio, and I loved the sound. It was such a magical, beautiful sound. I dedicated my entire childhood to cello, practising like crazy.
I just enjoy the sound as I hear it in everything around me. The high and low frequencies of sound bewitch me. Whether I am in a shop, in the bathroom or listening to noise that my fans make... everything is music to my ears and drives me. I just put all these things in rhythm when I'm playing.
The cello is not one of my favourite instruments. It has such a lugubrious sound, like someone reading a will.
When I was 8 years old, there was a showcase of all the instruments you can learn at my school. This guy was playing the trumpet. I heard it and was like 'Oof I got to learn to play.' The sound - everything was amazing. I was blown away.
The bass, no matter what kind of music you're playing, it just enhances the sound and makes everything sound more beautiful and full. When the bass stops, the bottom kind of drops out of everything.
I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.
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.
The bassoon is one of my favorite instruments. It has a medieval aroma, like the days when everything used to sound like that. Some people crave baseball...I find this unfathomable, but I can easily understand why a person could get excited about playing the bassoon.
The way it works for me is my sight and sound senses are combined. Every sound I associate with a color and every color I associate with a sound... The way I see things is constant streamers across the room, bouncing off from every touch and every sound. Over the years, I've learned what color palates I love most.
A cello can sound like so many instruments, but it's only one, you know, like a guitar; it has percussive qualities. It can sing like the violin, you know, like a voice.
Everything that is somehow related to direction and filmmaking fascinates me, like cinematography.
I still think that I'm playing instruments, not just pushing buttons and there it goes. It's interactive and alive with the sound and the manipulation and it plays like instruments.
Instruments sound interesting, not because of their sound, but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments, which is what you like and respond to.
I think that George Lucas' 'Star Wars' films are fantastic. What he's done, which I admire, is he has taken all the money and profit from those films and poured it into developing digital sound and surround sound, which we are using today.
We needed to make a sound that's not gonna fit in with everything else - we wanted to make something that was completely unique and individual to us. We spent a lot of time trying to make a sound that was a One Direction sound. At first it was quite hard to do that, but I'm really happy with the sound.
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