A Quote by Itzhak Perlman

I can actually see the sound in my head. I can actually see it... But each sound is different so this one has that sparkle, there is a sparkle to the sound. — © Itzhak Perlman
I can actually see the sound in my head. I can actually see it... But each sound is different so this one has that sparkle, there is a sparkle to the sound.
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.
It's funny. When I saw the script in my inbox and it said 'Sparkle,' I thought, 'For real? It's really called 'Sparkle?'' I was wondering, too, how does 'Jordin Sparks as Sparkle' sound?
It's funny. When I saw the script in my inbox and it said 'Sparkle,' I thought, 'For real? It's really called 'Sparkle?' I was wondering, too, how does 'Jordin Sparks as Sparkle' sound?
My dad had a candy-apple red sparkle drag boat with a giant hemi engine in it that he raced professionally. The sound of that engine was the most incredible sound ever.
If sound is music and came from silence, then silence is potentially greater than sound. If the sound is effective, it should actually have a chemical - some sort of physiological - effect on the listener, so he doesn't have to hear that sound again.
With the R&B, gospel feel that 'Sparkle' has, that opens the door for my fans to be more accepting of that sound and also for me to try it.
Surf music is actually just the sound of the waves played on a guitar: that wet, splashy sound.
You can actually see God, and Hear Him, play with Him. It might sound crazy, but He is actually there.
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.
When I think of the things that I want to write, I can never say them out loud because I know how crazy they sound. I know what things sound like when you haven't actually worked on the script, so I don't go around saying some of these ideas because they just sound awful.
A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.
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.
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.
Generally, you are held to a sound and that becomes your sound. That gets branded as your sound, and all the copycats start with it because the labels are looking for that sound.
We never look deeply into the quality of a tree; we never really touch it, feel its solidity, its rough bark, and hear the sound that is part of the tree. Not the sound of wind through the leaves, not the breeze of a morning that flutters the leaves, but its own sound, the sound of the trunk and the silent sound of the roots.
The way you can see what an actor brings to a role is you turn the sound off. Everything else becomes subtext, the wink and the nod, and the attitude and all that kind of stuff is a little easier to see with the sound off.
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