A Quote by Mitch Albom
We do not realize the sound the world makes -- unless, of course, it comes to a stop. Then, when it starts, it sounds like an orchestra.
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We love a good, hyped sound, but when it starts to sound insincere, that's when I lose interest. I hope that our music, even if it sounds polished, doesn't sound insincere.
You know, as I'm progressing with my sound, I just realize when you got a simple sound with crazy percussion in the beats, it makes it. It kinda shapes my sound when it comes to what makes a Tay Keith beat.
The sound of the orchestra is one of the most magnificent musical sounds that has ever existed.
I always maintain that playing in an orchestra intelligently is the best school for democracy. If you play a solo, the conductor and everybody in the orchestra follows you. Then, a few bars later, the main voice goes to another instrument, another group, and then you have to go back into the collective [sound]. The art of playing in an orchestra is being able to express yourself to the maximum but always in relation to something else that is going on.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; we've become the most famous bad orchestra in the world.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; weve become the most famous bad orchestra in the world.
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.
Taking somebody's money without permission is stealing, unless you work for the IRS; then it's taxation. Killing people en masse is homicidal mania, unless you work for the Army; then it's National Defense. Spying on your neighbors is invasion of privacy, unless you work for the FBI; then it's National Security. Running a whorehouse makes you a pimp and poisoning people makes you a murderer, unless you work for the CIA; then it's counter-intelligence.
Several times a day, stop and just listen. Open your hearing 360 degrees, as if your ears were giant radar dishes. Listen to the obvious sounds, and the subtle sounds?in your body, in the room, in the building, and outside. Listen as if you had just landed from a foreign planet and didn?t know what was making these sounds. See if you can hear all sounds as music being played just for you. Even in what is called silence there is sound. To hear such subtle sound, the mind must be very quiet.
I like [George] Benson because I just like it. I like that kind of style. I don't like the broken up kind of style. I don't like where you play for 16 bars and then break it up into what somebody's version of what birds twittering sounds like, or what the sound of the city is, or what New York sounds like.
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.
The music lovers of London and the country deserve to have something where orchestras can flourish. You have no idea how wonderful an orchestra like the London Symphony Orchestra can sound in a great concert hall.
I work a lot with sounds based on stream of consciousness. I like the way it sounds, then I turn it into something that makes more sense.
Well, I'm like a drug addict, I'm always saying I'm going to stop, and then I don't, what I've said consistently is that I hope I know when to stop: when it starts to get repetitive.
I'm not interested in having an orchestra sound like itself. I want it to sound like the composer.
I say to string players in small chamber orchestras, 'it's always easy to become a passenger on the journey in sound, just adding volume to the whole. But if you play in an individual way, it makes the difference between good and great sound in an orchestra.'
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