A Quote by Yao Ming
Every sound in the gym is so fantastic. The screams of the fans, the whistle of the ref, the teammates calling to each other, the sounds of the ball touching the wooden floor, the sneakers touching the floor, and the sounds of the fight, the muscle and the sweat. Oh, and the last one-when the ball goes through the net. Don't laugh at my sensitivity and romanticism - those sounds really attract me.
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It wasn't really touching to be young; it was touching not to be young, because you had less of life left. Touching to be thirty; more touching to be forty; tragic to be fifty; and heartbreaking to be sixty. As to seventy, as to eighty, one would feel as one did during the last dance of a ball, tired but fey in the paling dawn, desperately making the most of each bar of music before one went home to bed.
We listen too much to the telephone and we listen too little to nature. The wind is one of my sounds. A lonely sound, perhaps, but soothing. Everybody should have his personal sounds to listen for-sounds that will make him exhilarated and alive, or quiet and calm... As a matter of fact, one of the greatest sounds of them all-and to me it is a sound-is utter, complete silence.
It's so hard to listen to these trains outside my window, here it comes again. And it's calling me, begging me, follow me down the track. And it moans so dark and low, baby ain't comin' back... It sounds like crying, it sounds like letting go. Breathing and lying, sinking and dying slow. And I watch from my window, touching the cold glass sky. As the train rolls down the track, I say goodbye.
I usually speak with all my drummers so that I write my songs with them in mind, and we'll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds - double bass and stuff.
I'm running because Hoosiers deserve a senator who sounds the same on the factory floor as he does on the Senate floor.
I'm one of those players that I think I can do what's asked of me. Whether it's putting the ball in the basket, rebounding the ball, diving on the floor, making other people better, I'm willing to do anything just to win.
Well, things hold up even if they sound dated. It can be very difficult to listen to 80s pop songs with really, really gigantic smashed drum sounds. You just want to turn that gated reverb down on the snare. It sounds wrong now. It sounds amateurish. And ugly. But at the time it sounded state-of-the-art. So yeah, I think it's important not to sound state-of-the-art in a way that anybody else is going to sound. Or you'll quickly sound like yesterday's state-of-the-art.
Oh, gentle feelings, soft sounds, the goodness and the gradual stilling of a soul that has been moved; the melting happiness of the first tender, touching joys of love- where are you?
I love that tension between machine sounds and organic sounds, and also the contrast between abrasive sounds and soft sounds.
It's sort of cheesy to introduce that to the drums - those dings and dongs and bell sounds. That's definitely one of the reasons people are like 'oh yeah, they sound like Tom Waits, with those trashcan drums.' But at the same time, it sounds so good! And it introduces this... I mean, it's not tuned, but somehow it adds this extra layer of melodic texture.
I'm always looking for sounds that are pleasing at the time. The sound of a helicopter is really annoying until you're drowning, and it's there to rescue you. Then it sounds like music.
I don't understand anything technical about music at all. I don't understand any of it, why you can't put these sounds together with those sounds. I only know what sounds good.
The rush of creating sounds and mixing sounds is always an interesting challenge, especially for someone like me, who doesn't know about sound.
I listen to the group Disclosure; they have great sounds. Maybe not as adventurous as Skrillex. I think the key thing is to have those beautiful sounds... the amazing sounds of Skrillex are almost phenomenal.
I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.
Every few years, I go back into all the songs and I update them so that it never sounds like an oldies show. If you come to the shows, they're full of muscle. 'Copacabana' sounds like it could have been released yesterday.
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