A Quote by John Irving
This is a writer’s lesson: To learn that the sounds that we imagine can be the clearest, loudest sounds of all.
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I love that tension between machine sounds and organic sounds, and also the contrast between abrasive sounds and soft sounds.
I usually speak with all my drummers so that I write my songs with them in mind, and we'll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds - double bass and stuff.
Rhythms and sounds are often the first thing I hear and want in a poem, so I can't imagine trying to translate something without at least being able to hear what it sounds like.
Also in Norah Jones, now there's a voice that sounds and I don't mean disrespect but sounds a hundred years old that sounds incredibly experienced. It's just an exciting time.
We are no longer the same after hearing certain sounds, and this is more the case when we hear organized sounds, sounds organized by another human being: music.
I don't understand anything technical about music at all. I don't understand any of it, why you can't put these sounds together with those sounds. I only know what sounds good.
I listen to the group Disclosure; they have great sounds. Maybe not as adventurous as Skrillex. I think the key thing is to have those beautiful sounds... the amazing sounds of Skrillex are almost phenomenal.
The task is to investigate speech sounds in relation to the meanings with which they are invested, i.e., sounds viewed as signifiers, and above all to throw light on the structure of the relation between sounds and meaning.
We listen too much to the telephone and we listen too little to nature. The wind is one of my sounds. A lonely sound, perhaps, but soothing. Everybody should have his personal sounds to listen for-sounds that will make him exhilarated and alive, or quiet and calm... As a matter of fact, one of the greatest sounds of them all-and to me it is a sound-is utter, complete silence.
I think the problem with the term graphic novel is it sounds pompous, it sounds pretentious, whereas on the continent, they call it an album, which to me sounds, it's got more much of a connotation of a kind of a music single and an album collection.
There is never any end... There are always new sounds to imagine; new feelings to get at. And always, there is the need to keep purifying these feelings and sounds so that we can really see what we've discovered in its pure state.
Listening to the birds tells you different things about a place. I heard bird sounds I'd never heard before. I heard street sounds and country sounds and city sounds that are very different from what it is I'm used to and I get very fascinated about how that marks a place.
All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.
I like the sounds of EDM; the guys create new sounds, beautiful sounds. The melodies, it's a little less. I like the kind of melodies I did with Donna Summer, or 'Flashdance,' where you have a verse, a chorus - a song setup.
I try to listen attentively to musical sounds around me. You can think of the sounds of daily life as being musical. So I try to absorb the intricacies of the sounds as I would if I were listening to a piece of music. I try to see the beauty in everything.
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.
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