A Quote by Nate Ruess
We love a good, hyped sound, but when it starts to sound insincere, that's when I lose interest. I hope that our music, even if it sounds polished, doesn't sound insincere.
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I love the sound of '70s glam records. I love that snare sound. The recordings I like, it's all based on if the snare sounds good. The drums have to sound great.
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.
Well, things hold up even if they sound dated. It can be very difficult to listen to 80s pop songs with really, really gigantic smashed drum sounds. You just want to turn that gated reverb down on the snare. It sounds wrong now. It sounds amateurish. And ugly. But at the time it sounded state-of-the-art. So yeah, I think it's important not to sound state-of-the-art in a way that anybody else is going to sound. Or you'll quickly sound like yesterday's state-of-the-art.
The three great elemental sounds in nature are the sound of rain, the sound of wind in a primeval wood, and the sound of outer ocean on a beach.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
If sound is music and came from silence, then silence is potentially greater than sound. If the sound is effective, it should actually have a chemical - some sort of physiological - effect on the listener, so he doesn't have to hear that sound again.
My job on a film is to be responsible for all the sounds in the movie besides the music. Together with my team, we work on the dialogue, foley, sound effects, and sound design. We work closely with the director and picture editor in the prep period, and then together with them, the sound mixers, and music crew, we collaborate on the final mix of the film.
We're all about exploring new sounds, so we don't have any limits whatsoever about how we go about finding them. We do tend to sample human vocals or sample sounds, which allows you to create your own sound. That's not our only way obviously, but that's a way you can use a sound no one's used before; it's not a sound in the synth. There's a lot of that going on in our songs in general.
I love the sound of snow... You can hear it even if you are only standing on a balcony. [The sound] is only minimal, not even a real noise: a breath, a trifle of a sound. You have the same thing in music: if in the score there is a pianissimo marked that ends in nothing. Up thee you can feel this 'nothing'. With an orchestra it is very difficult to achieve it. The Berlin Philharmonic manage it sometimes.
Music is the celestial sound, and it is sound that controls the whole universe, not atomic vibrations. Sound energy, sound power, is much, much greater than any other power in the world.
There is a sound that comes from gospel music that doesn't come from anything else. It is a sound of peace. It is a sound of, 'I'm going to make it through all of this.
There is a sound that comes from gospel music that doesn't come from anything else. It is a sound of peace. It is a sound of, 'I'm going to make it through all of this.'
I like loud electric guitars because I like how you can just lose your entire being in the sound. But I can't find myself in a situation where our band Swans is doing typical chord progressions - it just seems cliché to me. Even changing chords sounds like a cliché sometimes, though it happens occasionally in our music. But you find ways to push yourself into the sound through repetition. It doesn't stay the same. It morphs constantly.
Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?
Never sound pompous. You always sound noble, noble. Absolute character of music is nobility. Even popular music can be noble, you see. If it's not noble, then it's not very good... Music is an art of emotion, of nobility, of dignity, of greatness, of love, of tenderness. All that must be brought out in music but never a show of pompousness.
Since I first fell in love with choral music when I was 18 and began composing at 21, I've been listening to these recordings of British choirs. I just fell in love with that sound - that pure, clean, pristine sound - and I think it's probably been the biggest influence on my sound.
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