A Quote by Les Baxter

I don't try to make 15 musicians sound like two each. — © Les Baxter
I don't try to make 15 musicians sound like two each.
A musician should only sound like what they do, and no two musicians sound the same. It's an individual-feel thing, you know?
I try not to force my sound on everybody. I try to yield unto each artist and... I try to just support that sound rather than force a sound that might not fit.
Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.
There's a great deal of stripping away; in early drafts, I may say the same thing two or three times, and each may be appropriate, but I try to pick the best and improve it. I work on sound a great deal, and I will change a word or two, revise punctuation and line breaks, looking for the sound I want.
Like many musicians, I can hear the weight in the sound. Sound is matter. We speak of the colour of an instrument, of transparency... We can demand more sombre or lighter colours, deeper playing and singing, heavier or lighter sound. And manipulating those means is like creating a painting.
I try to do two things: locate my fastball and change speeds. That's it. I try to keep as simple as possible. I just throw my fastball (to) both sides of the plate and change speed every now and then. There is no special food or anything like that, I just try to make quality pitches and try to be prepared each time I go out there.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
We try to make each situation specific to the person. At the beginning of the season, we come up with, like, 50 to 100 ideas, which we workshop and then we call around to see who is interested in doing something like that. Once we find the people, we make the bid specific to them. A lot of it is about where you can get people to go physically, which is a little tricky because most actors and musicians are kind of hermits-they like to stay in their houses.
I don't know if it's possible to affect my ego any more. There's no room left. For me, I think I make music like the way I think it should be made, like what rock should sound like. It has nothing to do with the current marketplace. And so from that state of mind, it's gonna sound different from anything else out there. And when something sounds different, I think that can be inspiring to other musicians.
There's so much to be said for making your guitar sound like a synthesizer and try to make your drummer sound like a drum machine.
I mean, Tool has a style, but we try to make all our songs sound different from each other.
I personally feel like the end product is always better when you can make a collective. It's like a band. You can have a bunch of individual great musicians, but when you come together, there's a sound that it creates that you couldn't do on your own.
As an audience member, I like the sound of something that's been written - I like it to sound written. And then, of course, you can't do it without the musicians who can play it.
I'd much rather have 15 people arguing about something than 15 people splitting into two camps, each side convinced it's right and not talking to the other.
Let's go. We're supposed to rendezvous with the Captain at the lake. Oh, and try to keep the noise down. You sound like a panicked moose crashing through the woods," the smarter man chided. "Oh yeah. Like you could hear me over your specially trained 'woodland-animal footsteps,'" Rough Voice countered. "It was like listening to two deer humping each other.
Sometimes pianists try to sound like singers: me personally, I try to sound like a Bösendorfer.
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