A Quote by Stephen Mallinder
We had always used found sound, but we had always used it in an analogue way. And it was the early days of using collage and sound in a digital way. MTV, a couple of years later would be that way.
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When I first used Auto-Tune, I never used it to sing. I wasn't using it the way T-Pain was. I used it to rap because it makes my voice sound grittier.
On the musical side, I always wanted to kind of carry on Pink Floyd's sound. You know, Pink Floyd always had such an original, creative and masterful sound, but there are no new albums. My thought was that there's a way to keep their sound alive.
When I moved into making sculpture, I could handle steel the way it had been handled in the technological revolution. I could use it the way bridge builders used it; I could use it the way they used it in industry and building and not the way it had been used in art.
The photo collage is a way to travel that must be used with skill and precision if we are to arrive... The collage as a flexible hieroglyph language of juxtaposition: A collage makes a statement.
I also used these realistic sounds in a psychological way. With The Good, the Bad and the Ugly, I used animal sounds - as you say, the coyote sound - so the sound of the animal became the main theme of the movie.
I always had a Twitter account. I always had an Instagram account. I was always active on it, always spoke my mind. To me, it's really weird that I got so many followers and people that pay attention the way they do. It's hilarious, actually, because people didn't used to listen to me at all. I used to be like, "Does anybody hear me talkin'?"
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.
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.
In the early '80s, my sound - especially that mysterious kind of synthesized sound that was used so much - every relatively cheap TV show eventually had it because it's not expensive. It's just one guy doing the whole soundtrack. So it was overdone.
I had big teeth, and I was goofy. I probably used to mess with people too much. People were always trying to be cool, and I was just being goofy and an idiot. So whenever I would get picked on - which happened a lot - I would usually find a way to talk my way out of it or joke my way out of it.
My mother had her dresses made. In those days in Chile, the early '70s, people had dressmakers make their things. With the leftovers, my sister and I always had a matching outfit. She had an outfit, we had the mini version. That was the very late '60s, early '70s way to dress your kids.
I don't think I'm always right, but I would like to empower people to come to sound conclusions using a systematic way of looking at things.
The way it works for me is my sight and sound senses are combined. Every sound I associate with a color and every color I associate with a sound... The way I see things is constant streamers across the room, bouncing off from every touch and every sound. Over the years, I've learned what color palates I love most.
Sound is often talked about in a very subjective way, as if it had a colour. This is a bright sound, this is a dark sound. I don't believe in that because I think that is much too subjective.
I always like to do sound design, and in movies, you have more leeway with that, but I don't really notice that sound design is being used in TV other than just location sound.
I realized that equipment really had little to do with why I sound like the way I sound
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