A Quote by Robert Morris
I do remember, though, when I discovered the third! I was about five years old - it was a very pleasing sound. I remembered that if I hit one note, then skipped one and played the next, I could get this really good sound.
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And the general shot my sister. I could not look at her, but I remember the sound of when she hit the ground. I hear that sound when things hit the ground still. Anything.' If I could, I would make it so nothing ever hit the ground again.
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.
That spin became so violent, it was hard to know how to get out of it. I was able to get it under control and break the speed of sound...I could feel myself break the speed of sound. I could feel the air building up and then I hit it.
I remember rehearsing it, and it was the one that we were really excited about and thought would sound the best, and once it was down on tape, it was like, This doesn't actually sound that good.
I wasn’t thriving socially, so I stayed in my room and played guitar all the time, at the time, I thought I was inventing a new sound that would change the whole outlook of music. I’ve discovered in the last few years that it was just the Seattle Sub Pop sound.
I was able to interpret the difference between the sharp, quick sound and the slow, deep sound of percussion and manipulate it, get a third sound out of things, if the beats were rapid enough.
My favorite over the years is probably 'All I Have to Give.' That's probably my favorite. It's one of the first songs that the five of us were featured on the lead, and I just think it has such a great sonic sound with all the melodies and harmonies. It has a little bit of a mixture of R&B and a pop sound. It's just a really good feel-good song.
There are things about how a note sounds on a violin that are really analogous to the human voice - you have a frequency and the air, and then you have a timbre which really is overtones - and making those things work together is one thing. The other thing is mechanical: If you can use your hands and arms to create sound on a fiddle, then learning to sing with it is like adding a third body part. And it's all training.
I can't remember if it was in the third grade in school, I was being told that two amoeba happened to hit in a muddy puddle of water two billion years ago, and I was an accident. I was the result. I wasn't real smart, but I said, 'I don't like the sound of that.'
I've been around a lot of artists who are also good at business, and... one minute they'll sound like an artist, and the next minute, they'll sound like the characters in 'Mad Men.' Jay-Z's a very good businessman, and he talks about it and enjoys it, but he doesn't shift.
My uncle gave me a trumpet, but I loved the Louis Armstrong sound and the Harry James sound and I played by ear and I played always soulful or very direct from the gut.
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.
Think of the sound you make when you let go after holding your breath for a very, very long time. Think of the gladdest sound you know: the sound of dawn on the first day of spring break, the sound of a bottle of Coke opening, the sound of a crowd cheering in your ears because you're coming down to the last part of a race--and you're ahead. Think of the sound of water over stones in a cold stream, and the sound of wind through green trees on a late May afternoon in Central Park. Think of the sound of a bus coming into the station carrying someone you love. Then put all those together.
Growing up, I played about every sport imaginable except soccer and hockey. I've always had a passion for basketball. I remember actually playing basketball when I was two or three years old. The time I knew that I could really take my game to the next level.
Just blow in it and sound bad for about a year and then make it sound a little bit better, and you get a little band together, and then you get a few jobs. You take four guys that sound half bad, but if they're 25 percent each, they can give 100 percent, you know?
I'm not gonna sound like the next person. I could respect your sound, but I could also do my own - you feel me?
