Top 1200 Sight And Sound Quotes & Sayings - Page 11

The bass, no matter what kind of music you're playing, it just enhances the sound and makes everything sound more beautiful and full. When the bass stops, the bottom kind of drops out of everything.

Silence is Golden; it has divine power and immense energy. Try to pay more attention to the silence than to the sounds. Paying attention to outer silence creates inner silence: the mind becomes still. Every sound is born out of silence, dies back into silence, and during its life span is surrounded by silence. Silence enables the sound to be. It is an intrinsic but unmanifested part of every sound, every musical note, every song, and every word. The unmanifested is present in this world as silence. All you have to do is pay attention to it.

I have a lot of respect for people who are great at ad-libbing and for writers and directors who are able to create a scene in which that works. Judd Apatow is fantastic at it. But as an audience member, I like the sound of something that's been written - I like it to sound written.

I use a progressive alarm that makes a soft sound at first and then progressively gets louder. But I usually wake on the first sound, so it doesn't disturb my wife. When I used a loud alarm clock, I was more likely to hit it on the head and go back to sleep.

My kids will come to me and ask me to listen to a 'new sound' they think they've discovered. One time it was the Beatles' 'Yesterday,' and the new sound was four strings. All of a sudden the new generation discovers the string quartet!

And the sound of your heart," he continued. "It's the most significant sound in my world. I'm so attuned to it now, I swear I could pick it out from miles away. But neither of these things matter. This," he said, taking my face in his hands. "You. That's what I'm keeping. You'll always be my Bella, you'll just be a little more durable.

I think when we do our job right, our artists don't sound like anybody else. I have a real hard time with voices that sound like other big voices.

The Florida sound would probably be best defined as heavy bass with high energy dance records. There's a strong Caribbean heritage in Florida which features a lot of uptempo music, and the music accents the sexy, body-oriented sound.

It depends on the material. Sometimes I sound like him, sometimes not. There are certain tunes we do that are so familiar to the audience that to perform them without making them sound like Frank Sinatra would be wrong.

The R.E.M and Nirvana successes don't mean much to me except as a potential distraction for bands who want to cash in on the trend. Don't try to sound like someone else. R.E.M and Nirvana don't sound like anyone else.

It does sound like a science fiction story and I may sound like one of these guys who walks up and down with a sandwich board saying the end of the world is nigh, but the end is nigh.

I love the sound of the distant bugle call in the countryside in early morning I love to be pushed in busy crowds I love the sound of gongs and trumpets along the streets I love circus performances I even wish to die in this moment of glorious encounter.

I don't want to sound like Ross; I don't want to sound like Puff. I want to make my own music: French Montana.

For the first time I was flying by jet propulsion. No engine vibrations. No torque and no lashing sound of the propeller. Accompanied by a whistling sound, my jet shot through the air. Later when asked what it felt like, I said, "It felt as though angels were pushing".

...though every thinking being longs for God, the First Cause, it is powerless... to grasp Him. Tired with the yearning it chafes at the bit and, careless of the cost, it tries a second tack. Either it looks at things visible and makes of these a god - a gross mistake, for what visible thing is more sublime, more godlike, than its observer... - or else it discovers God through the beauty and order of things seen, using sight as a guide to what transcends sight without losing God through the grandeur of what it sees.

The way I perceive an album to sound and the way I put out mixtapes are two different energies. There's a different focus; there's a different sound.

When you got a sound that don't sound like nobody else and it's brand new, you've got to feed it to 'em. You've got to force it on 'em.

Tape machines are effects boxes as well because each tape machine has its own sound. You can over-load a tape machine or you can bump it a certain way so it compresses or makes a sound, tape saturation.

If you take a violin, you can make it sound 50 different ways. Not just pizzicato and played by the bow, but ponticello, and harmonics, and tremolos. If you take an oboe and play it, there's about one way you can make it sound: like an oboe.

With Metavoid, I wanted to move forward with the Lustmord sound, rather than recreating past works such as Heresy or Black Stars, I wanted to create a sound that was new, but which was also unmistakably Lustmord. It's for others to decide if I failed or succeeded.

I don't know rap. I can't tell you a Tupac song. But you put on some go-go, and I'll know it word-for-word. That's why I feel like I got my own sound - or a D.C. sound.

I always went in with a very specific idea of the sound I wanted, and once I'd recorded I'd try and make it sell as much as I could, but I only went in thinking of a sound I wanted. So, it's no surprise to me that he got the hit and I didn't. But what I realized was that he did dress it up nicely, and my god, he does sing on key well.

Your head is a stereo input. The density and cartilage of your ears embed certain extra characteristics into stereo sound sources. Your brain decodes that and gives you sound plus conscious directions.

Creed's sound is my sound.

I am not that thrilled about the way our records sound anyway. Don't get me wrong, I work hard on them and I want them to sound fantastic but I'm happy to have another interpretation of them anyway.

Seattle, they like the Bay a lot. They like the Bay area sound, the West Coast sound.

My songs are my kids. Some of them stay with me, some others I have to send out, out to the war. It might sound stupid and it might even sound naive, but that's just the way it is.

We are a categorically obsessed culture, where we have to compartmentalize everything in reference to another thing, like, 'What does it sound like? Does it sound like this?

Death arrives among all that sound like a shoe with no foot in it, like a suit with no man in it, comes and knocks, using a ring with no stone in it, with no finger in it, comes and shouts with no mouth, with no tongue,with no throat. Nevertheless its steps can be heard and its clothing makes a hushed sound, like a tree.

Magic is another word that makes people uneasy, so I use it deliberately, because words they are comfortable with, the words that sound acceptable, rational, scientific, and intellectually sound, are comfortable precisely because they are the language of estrangement.

We are a categorically obsessed culture, where we have to compartmentalize everything in reference to another thing, like, 'What does it sound like? Does it sound like this?'

I wanted all the music to sound strong. It's all down to the restoration and mastering. In many ways I feel the work in general was never properly mastered in the first place. To me, making the music sound the way we wanted it was by far my biggest goal with the re-issues.

Does sound have rhythm? Does it rise and fall like the ocean? Does sound come and go like wind?

I never consciously tried to conceive of what my sound should be...I never tried to imitate anybody, but when you love somebody's music, you're influenced...I really don't know how I developed my sound, but it comes from a combination of my musical conception and no doubt the basic shape of the oral cavity.

People who care about records are always giving me a hard time. I mean, I would destroy records in performances, and break them, and whatever I could do to them to create a sound that was something else than just the sound that was in the groove.

Maybe we'd forgotten what socialists are meant to look and sound like. Well, now we've been reminded. They're meant to look and sound like Jeremy Corbyn.

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 don't like no fancy chords. Just the boogie. The drive. The feeling. A lot of people play fancy but they don't have no style. It's a deep feeling-you just can't stop listening to that sad blues sound. My sound.

Why is it that when men and women congregate, though the men may beat the women in numbers by ten to one, and through they certainly speak the louder, the concrete sound that meets the ears of any outside listener is always a sound of women's voices?

For the most part, I've been influenced by black singers and singers I couldn't sound like. Whenever I tried to do a dark note or a bent note, I would just sound like Hootie And The Blowfish.

Having a band was part of my heart's desire, musically. Within myself, I was saying that, 'Not until you have a band for yourself can you maintain the standard of your songs,' and the sound become a foundation. You don't have to feel around for two or three weeks for the sound because the foundation is already built.

These are bagpipes. I understand the inventor of the bagpipes was inspired when he saw a man carrying an indignant, asthmatic pig under his arm. Unfortunately, the man-made sound never equalled the purity of the sound achieved by the pig.

My country stuff, it might sound like Hank Williams - that's just the way it is. But I'd rather sound like Hank Williams than Trace Atkins.

I've always found that when you're trying to create illusions with sound, especially in a science fiction or fantasy movie, that pulling sounds from the world around us is a great way to cement that illusion because you can go out and record an elevator in George Lucas's house or something, and it will have that motor sound.

It seems like the powers that be are really trying to separate everything and really divide the genres and divide the trends. If you're metal and you don't sound like Slayer would sound now, then you're not metal. If you're punk rock and you don't sound like and preach about what The Sex Pistols would have preached about back in the day, then you're not really punk rock.

I was just a punk kid, trying to get a sound out of a guitar that I couldn't get off the rack, so I built one myself ... I wanted a Gibson type of sound but with a Strat vibrato .. I went to town painting it and I put three pickups back in, but they don't work - only the rear one works

I never think about actual things when I'm painting. I'm not thinking, "I'm going to put a person here, a tree here and a bird there." The beginning stage is always the sound. From that, slowly, stories come about based on what I'm reading or thinking at the time, but if I didn't have that sound I don't know what I would do.

I never really made much money playing music. It's because I've never really worked with a producer who could make my music sound, I guess, like how the public wants it to sound.

I was always listening to the records that made shredding sound fun - Steve Vai, Satriani, Cacophony, Paul Gilbert. I think that's what's missing from modern shred guitar; so many people are playing so many amazing notes, but a lot of it doesn't really sound all that fun.

Some things can be perfectly expressed by sound alone and images would only be disturbing. Other times, sound would be possible, but visuals are much stronger and closer to what I want to express and then again, they sometimes overlap perfectly.

There's a big gaping hole in the EDM space for songwriting. It's one thing to learn how to be a great sound designer and become big just on sound design. Especially if you're in the dubstep category, it's like, how much fatter and more interesting can you make those drops.

The sound of tap is not 'clickety clickety tap tap,' this monotone thing. The sound of tap has depth. We want you to hear the different highs and lows, the bass, the trebles and the melodies, if you can.

One day in Berlin ... Eno came running in and said, 'I have heard the sound of the future.' ... he puts on 'I Feel Love', by Donna Summer ... He said, 'This is it, look no further. This single is going to change the sound of club music for the next fifteen years.' Which was more or less right.

The reason I wanted to become an organ player was because I heard Ray Charles play on Quincy Jones' arrangement of "One Mint Julep." I heard that sound, and it just struck me. I thought that's what I want to do with my life. That's the sound I want to try to make.

Onstage I like to play with a an 18-inch speaker, which very few bass players do. I need that fat, underneath sound, which I've always had. It suits me admirably to do it like that, and I can imitate that sound by plugging directly into the board in the studio.

I have songs that sound like this and songs that sound like that. I think it's just my vocal that keeps it all together.

It's like having a conversation. Doing beatbox for me is as natural as talking is for someone else. Sending sound through a certain part of my throat, so that I am accurate every time. It's not like whatever happens happens, this is a focused sound.

The sensitive ear of the musician detects a certain musical note in every city which is different from that of another city. He hears in each little brook a new melody, and to him the sound of wind in the treetops of different forests give a varying sound.

I've got a song on One Direction's album called 'Tell Me A Lie'. It's a really cute song - I love it. I loved that they liked it. They sound really great on it. I already have it - I'm so VIP with my copy on my computer! It does sound really good.

I shot an arrow into the air, It fell to earth, I knew not where; For, so swiftly it flew, the sight Could not follow it in its flight. I breathed a song into the air, It fell to earth, I knew not where; For who has sight so keen and strong, That it can follow the flight of song? Long, long afterward, in an oak I found the arrow, still unbroke; And the song, from beginning to end, I found again in the heart of a friend.