A Quote by Phil Spector

When I went into the studio I created a sound that I wanted to hear. — © Phil Spector
When I went into the studio I created a sound that I wanted to hear.
Our studio is in the middle of an oil refinery. There's smoke and fire around it and when you emerge from the studio you hear this hissing sound all around you.
When I go into the studio - it [words] has to sound the way I heard it in my head. So that's probably one of the biggest things that separates me when I'm working in the studio - just how I hear certain things.
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 just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.
Artists are creating their own genre sound, and other artists are building upon that sound and already creating a huge subculture created around one particular sound created by one artist. So, with all that happening, the genres are going to break down, and there's going to be a multitude of sound coming out.
Every now and then, when you're on stage, you hear the best sound a player can hear. It's a sound you can't get in movies or in television. It is the sound of a wonderful, deep silence that means you've hit them where they live.
We wanted it more live and raw. We didn't want a studio sound.
I used to carry a notebook to the studio. I don't do that no more 'cause I don't have the time to write anywhere but right there in the studio on the spot. So when you hear my stuff, know that I wrote it in the studio.
I wanted to use the studio like a microscope for sound, which is what good engineers do.
Titles are relatively arbitrary to me; they take on meanings that aren't really my meanings. 'Sound Of Silver' was just, like, I made the studio silver, and I wanted the record to sound 'more silver.'
Now I will do nothing but listen to accrue what I hear into this song. To let sounds contribute toward it. I hear the sound I love. The sound of the human voice. I hear all sounds running together.
A sentence is like a tune. A memorable sentence gives its emotion a melodic shape. You want to hear it again, say it—in a way, to hum it to yourself. You desire, if only in the sound studio of your imagination, to repeat the physical experience of that sentence. That craving, emotional and intellectual but beginning in the body with a certain gesture of sound, is near the heart of poetry.
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.
The C+ amps is vintage at this point, and it definitely has a certain sound to it. I wanted something that was going to keep Dream Theater in more of a current musical landscape, as far as being the producer and producing the type of album I wanted to hear.
A studio is like a meditation room where music is created. And a live performance is the place where the creation of the studio is taken ahead. I love both.
She laughed, and the sound was so melodic that I knew I wanted to hear it again.
This site uses cookies to ensure you get the best experience. More info...
Got it!