A Quote by Jonas Blue
My first bit of gear was a Roland JV-1010 sound module. I used to hammer the hell out of that.
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The C Mission was the first command and service module. The D Mission was the first mission involving a lunar module in a manned fashion and the command module, and the E would take this lunar module and the command module into a very high elliptical orbit, about 4,000-mile-high orbit.
Coltrane would do what you'd get a Roland Pro Tools module to do but with a group of jazz musicians.
You can get the oldest drum machine out and whack out four sounds like a kick, snare, and two types of high-hat, and try and come up with the freshest thing on the spot. The gear can guide you - you can choose one bit of gear and it's obviously got its restrictions and its limitations, but at the same time, you've got to exploit what it's capable of and what it's best used for.
Personally, I think government is a tool, like a hammer. You can use a hammer to build or you can use a hammer to destroy; there is nothing intrinsically good or evil about the hammer itself. It is the purposes to which it is put and the skill with which it is used that determine whether the hammer's work is good or bad.
Space has not changed but technology has, in many cases, improved dramatically. A good example is digital technology where today's cell phones are far more powerful than the computers on the Apollo Command Module and Lunar Module that we used to navigate to the moon and operate all the spacecraft control systems.
My life has never been defined as Roland Martin, CNN; Roland Martin, TVOne; or Roland Martin, 'Tom Joyner Morning Show.' I'm appreciative of all of those platforms, but I've done all different things. I'm still Roland Martin.
The song 'If I Had a Hammer' is geared toward people who don't have a hammer. Maybe before I had a hammer I thought I'd hammer in the morning and hammer in the evening. But once you get a hammer, you find you don't really hammer as much as you thought you would.
I can't say that electronic gear is restrictive. I think it is a challenge to play with electronic gear, and I regularly [perform] concerts with guys who are processing sound.
This is going to sound strange, but I really feel I know Roland very well. In Wizard and Glass, I got to know the young Roland, and then as I traveled with him from Eluria (found in the story "The Little Sisters of Eluria") through Tull and the Mohaine Desert (The Gunslinger), and then all the way to the Dark Tower.
The instrumental record is a bit subtler. It's the kind of stuff on sound check, when I first pick up my violin and start to play, the kind of melodies that just pour out of me. Some of them sound very classical. Some of them sound experimental, polyrhythmic loops that I make.
Grimly, she realized that clocks don't make a sound that even remotely resembles ticking, tocking. It was more the sound of a hammer, upside down, hacking methodically at the earth. It was the sound of a grave.
When you're in the studio, you've got a narrative for what goes on, you might switch on a bit of gear and it might not work as you intended or come out a bit wrong, and you try and exploit it.
The blue gear with the red dinosaur is special to me because that's the first gear I wore in NXT.
There was once a professor of law who said to his students. When you are fighting a case, if you have facts on your side hammer them into the jury, and if you have the law on your side hammer it into the judge. But if you have neither the facts nor the law, asked one of his listeners? Then hammer the hell into the table, answered the professor.
When I was little, I was obsessed with Roland Rat. I also loved Danger Mouse. Later on, when I got a bit older, I was obsessed with Ren & Stimpy, but Roland Rat and Danger Mouse, they were my guys. They were my team.
When I first used Auto-Tune, I never used it to sing. I wasn't using it the way T-Pain was. I used it to rap because it makes my voice sound grittier.
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