A Quote by Paul Hirsch

The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually.
In sound design programs now, you can literally sculpt the sound on visual graphs. Sometimes the visual programs are even more interesting than the music that's making them
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?
When you're on camera, even though you try to lose yourself in the character, you are aware that there is a camera there capturing every moment of it visually. With doing a voiceover job, you are worried about the sound of it, and you have to make all those visual colors come out with your sound.
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.
I have just accepted certain things and it makes it easier. I accept I will get injured. I accept I cannot win every race. I work hard to decrease the chances of those things happening but I accept they will happen. A lot of people don't accept it. They get injured, they go crazy.
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.
In anything I've ever written, all the characters sound like me, which I don't think is a bad thing. It makes sense. But I had always admired filmmakers who made movies that didn't sound like them at all.
In our own case we accept excuses too easily; in other people's, we do not accept them easily enough.
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.
One of the main things I look for in a guitarist is in the sound itself. I go for a certain sound, and I think it's an important thing for making a player more identifiable in the big giant pool of musicians out there. You want a sound that people will recognise just as much as your playing.
You know, as I'm progressing with my sound, I just realize when you got a simple sound with crazy percussion in the beats, it makes it. It kinda shapes my sound when it comes to what makes a Tay Keith beat.
There's so many things about Babymetal you cannot just grasp with the sound. The visual has to compliment the sound, the costumes have to compliment the sound.
I sound New York. I sound East Coast much more than a blonde person from L.A.
I honestly like any sound. Birds. I have a very broad space to accept or enjoy anything except quiet.
The inexplicable happens all the time. It makes more sense to simply accept things we observe but cannot understand. It is really more scientific to keep an open mind. Until we can understand and explain the things we now label miracles, let us accept them and try to create more of them.
I wouldn't give a dime for all the possibilities of [motion pictures with sound]. The public will never accept it.
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