A Quote by Luka Sulic
We tune differently, and we use some tricks. There's just the two of us for much of a concert, so we want a big sound. We do use some guitar effects, distortion and delay. Playing cello with distortion sounds so good.
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It's amazing. It's actually build from old Siemens Telefunken transistors from the 60ties. There is like 10 in there. It's the most powerful distortion you can have. It does not only do distortion, it does so many weird things. You can't control it, it's sound different all the time. But it's an endless source for fantastic sounds. For example the track "Transit" is entirely made with this box. You have to put the guitar sound in. It's like a pedal.
The very nature of limiting something from an infinite to moments in time creates distortion; analog recording methods create all kinds of distortion, they're just not digital distortion.
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.
I try to become a singer. The guitar has always been abused with distortion units and funny sorts of effects, but when you don't do that and just let the genuine sound come through, there's a whole magic there.
I hate the sound of my own voice. It's just up there, sort of naked and exposed. Live is hard, because on my records, I play almost everything on a lot of stuff. In a live situation, I can't control everything. I use two different microphones. One is just clean, traditional sound, and the other one is basically a cheap cassette-recorder microphone that goes through a distortion box to emulate my voice on the record. That helps some.
I play in tune like a cello player and use legitimate vibrato. There are no tricks; it's just all in the hands!
[Some] times I'd have sound but no image. When Patti [Smith] was singing with her guitar, or doing something amazing with her clarinet, I'd just mess around and record the sound. So we'd use those sounds as another layer in the film [Dream of Life].
I don't understand why some people will only accept a guitar if it has an instantly recognizable guitar sound. Finding ways to use the same guitar people have been using for 50 years to make sounds that no one has heard before is truly what gets me off.
Of what use is the universe? What is the practical application of a million galaxies? Yet just because it has no use, it has a use - which may sound like a paradox, but is not. What, for instance, is the use of playing music? If you play to make money, to outdo some other artist, to be a person of culture, or to improve your mind, you are not really playing - for your mind is not on the music. You don't swing. When you come to think of it, playing or listening to music is a pure luxury, an addiction, a waste of valuable time and money for nothing more than making elaborate patterns of sound.
It's like that Simpsons joke - they're filming a cow in a movie and they go, 'OK, we'll tape a bunch of cats together to make a cow', and it's like, 'Why don't you just use a cow?'. For some reason that is novel - like, 'Oh, my guitar sounds like a piano and now if I can just get my piano to sound like my guitar'.
There's no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world - they make the sound, not you. It's very restricting to always use a library for sound effects. It's much more interesting and freeing to go out and record new sounds because you never know what you're going to get.
I often use a return channel to get some shape out of the bass. It's a good way to split the frequencies of the bass so that the sub bass is clean and in mono and the higher end of the bass sound can be filtered off - have it on an audio channel and that's where you can use effects.
I really like iZotope Trash, which is a great plug-in for distortion, as is Ohmicide, which I love. It's an absolutely crazy multiband distortion, compression, EQ and filter, which pretty much lets you do anything.
Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me. I use direct sound, mono not stereo. Just direct sound, so for every shot there are only two sources. Sound creates an intimate effect: the sensation to feel the place. It makes the viewer enter. You have the liberty to hear what you want.
The English language started out as a distortion in my life, but nothing remains the same, and so the distortion is now just normal. That is one of the things that will happen to all distortions: They become normal and turn into something else.
Booker T. Jones sounds more pithy and forceful than ever on “Potato Hole”…Mr. Jones still jabs terse, unhurried melodies that sound as if he knows the lyrics but would never tell. Where the M.G.’s suavely underplayed their aggression, the rockers’ multiple-guitar attack, with distortion and feedback, gives the music teeth.
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