A Quote by Naima Adedapo

I prefer to sing in the shower because the acoustics make you sound great, baby. — © Naima Adedapo
I prefer to sing in the shower because the acoustics make you sound great, baby.
I prefer to sing in the shower 'cause the acoustics are really, really good, I mean, when you're singing against the tile walls then you really hear yourself, hear your voice, you know, throwing itself back at you.
I definitely I prefer to sing in the car. I don't sing in the shower, maybe its because that's the one time I don't need to talk to anyone so I should just shut up, otherwise I'm just, you know, jibber jabber.
The shower is my time to open up my operatic chops, because of the enormous echo. You sound five times as big in the shower, so I break into some "Nessun Dorma" from Puccini 's Turandot or Pearl Jam. You've got to go big when you're in the shower. There's no half-singing in the shower, you're either a rock star or an opera diva.
Stradivarius, in particular, was the most amazing craftsman and one of the great artists and scientists that ever lived because he figured out something with the sound and the science of acoustics that we still don't understand it completely.
Before a baby is born, you have a baby shower, not a fetus shower.
It really isn't very glamorous to sing because you have to make all these funny faces to make it sound like the record. You really want to sound the best you can so you have to make all these disgusting faces.
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.
Japanese people are not known for expressing their feelings through singing and dancing, but I like to sing a lot. I don't just sing to myself in the shower. I sing everywhere.
I love playing the Hard Rocks; they've got a great stage, great lighting, great sound, and not so humongous; its more intimate, so we love playing theaters and clubs where the audience has a really good chance to see and hear the group and where the acoustics are good. I like it when we can hear what we're doing.
With real estate, it's location, location, location. In public speaking, it's acoustics, acoustics, acoustics.
I do sing in the car. I actually sing Britney Spears songs in the car - me and a close friend of mine. She lives in West Palm and I live in Miami, and when we're going back and forth to see each other, we sing: 'Oh, Baby Baby.' We sing all these 1990s songs. We're like two 14-year-old kids just having a good time.
I always sing Adele in the shower. But everyone should know you never sing an Adele song in public because no one's better than Adele.
Musicals are hard for me because I got thrown out of the glee club in high school, because I couldn't sing in tune at the time. I can sing in tune now, but I have to work really hard on it to make sure that I don't exercise one of my great talents, which is the ability to sing in three keys at the same time.
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.
I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
I don't sing in the shower at all, and I don't sing in the shower, either.
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