A Quote by Volker Bertelmann

I was actually very surprised after using some plastic necklaces on the strings, as the sound was very bright. Sometimes I just put something inside that lies next to me.
Sometimes an interviewer will look at me and say, 'You're bright!' They're actually surprised I might be bright.
You know, sometimes an interviewer will look at me and say - you're bright! They're actually surprised I might be bright.
We built something very special with Gaslight, and we don't want to mess with that sound too much. But I've always wanted to do a record where I can put strings or organs or pianos or whatever on it.
A certain construct of emotions that really define who you are and who you will become and I feel very much that my childhood is very alive inside of me, very close to me, very much part of me. And it's a sometimes painful, sometimes joyous inexhaustible resource for poetry.
He loves me." "You sound surprised." "Nobody ever did. Not like this. It's easy to say, for some people. The words. But it's not just words with Roarke. He sees inside me, and it doesn't matter.
Inside the glittery, swanky cases-the 'modern art' materials that were all the rage at the time, Formica and glass and plastic-was something very unpleasant, very frightening, and looking absolutely real.
My second 30 is actually very good, where my turnovers are very quick. I just want to put a complete race together, once I get out of my drive phase, I want to hit my next 30 very hard.
as some strings, untouched, sound when no one is speaking. So it was when love slipped inside us.
Link is a quiet man to meet- easy and courteous. His music, though, betrays that deep inside he gets very very mean very often. I remember being made very uneasy the first time I heard Rumble , and yet very excited by the guitar sound. And his voice! He sounds like a cross between Jagger and Van Morrison, even sometimes like Robbie Robertson. We met him in New York in 1970 while recording Who's Next.... this later inspired the b-side Wasp Man, a tune we dedicated to Link Wray.
Listen to this, Nimit. Follow Coleman Hawkins' improvised lines very carefully. He is using them to tell us something. Pay very close attention. He is telling us the story of the free spirit that is doing everything it can to escape from within him. That same kind of spirit is inside me, inside you. There-you can hear it, I'm sure: the hot breath, the shivering heart. (Thailand)
The Catholic religion at the time was much darker and more mysterious. The entire mass was in Latin. The church was - if you go to my church now, it's incredibly bright inside. But at - when I was young, it was very dark inside. And it was just the difference in the way that they've painted it since I've gone there. And it strives for a very different and welcoming spirit.
I am very excited about the prospect of using cryptocurrency, not just as a money equivalent, but using it as a way to earn something as a result of doing some type of work.
The guitar, by its very nature, the nature of its sound, by the soft nuance of its powerful and ancient voice, by the magic of the tone, goes directly to the part of oneself where love is felt. When I hear the sound of the guitar, it goes to some part inside of me that opens the door that holds feelings of love and everything that is beautiful which lives inside of me.
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.
The result was the same as tuning down the strings by a semitone and using a capo at the first fret. With less tension in the strings, the sound was more mellow and softer; it also allowed me to cover a larger span of the fingerboard. I used this for quite a few years, but eventually I went back to the standard fingerboard.
It certainly was an important moment for me, that realization that I was not going to get what I wanted. It was very freeing. I keep using that word "freeing" or "liberating." I feel like Houdini sometimes, like I'm just getting out of one set of shackles after another, hanging upside down inside a burlap bag with handcuffs on. Hopefully one day, I'm going to get out of this tank of water.
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