Top 1200 Sound Quotes & Sayings

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.

I was able to interpret the difference between the sharp, quick sound and the slow, deep sound of percussion and manipulate it, get a third sound out of things, if the beats were rapid enough.

There is a sound that comes from gospel music that doesn't come from anything else. It is a sound of peace. It is a sound of, 'I'm going to make it through all of this.

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.

A lot of solos I hear sound so incredible, but they sound like somebody practicing. They sound a bit soulless - fiery, but at the same time, lacking in spirit and soul.

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.

There's so many things about Babymetal you cannot just grasp with the sound. The visual has to compliment the sound, the costumes have to compliment the sound.

There is a sound that comes from gospel music that doesn't come from anything else. It is a sound of peace. It is a sound of, 'I'm going to make it through all of this.'

Prose is not so dependent on sound. The line of poetry, with the breaking of the line - to me, sound is the kind of doorway into poetry. And my sense of sound, or my ability to control it, lapsed or grew less.

It becomes evident that when the Life-power awakens its mysterious activity at the beginning of a cycle of manifestation those vibrations which we recognise as sound come into existence before the more rapid pulsations of electricity and light. Thus modern science confirms the ancient occult teaching that sound is the root of physical existence. 'It is out of Sound that every form comes, and it is in Sound that every form lives.

My dark sound could be heard across a room clearer than somebody with a reedy sound. It had more projection. My sound always seemed to fill a room.

We needed to make a sound that's not gonna fit in with everything else - we wanted to make something that was completely unique and individual to us. We spent a lot of time trying to make a sound that was a One Direction sound. At first it was quite hard to do that, but I'm really happy with the sound.

A lot of times I had footage that didn't have sound [in the Dream of Life film] - either I didn't bring a sound recorder, or I forgot to turn on the sound recorder - so we would have to improvise and build those scenes.

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 love the sound of '70s glam records. I love that snare sound. The recordings I like, it's all based on if the snare sounds good. The drums have to sound great.

The three great elemental sounds in nature are the sound of rain, the sound of wind in a primeval wood, and the sound of outer ocean on a beach.

We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.

It's either you finna create your own wave, you finna sound like me or you finna sound like G Herbo, you finna sound like Chance The Rapper, you finna sound like Juice Wrld. You ain't gonna get too far 'cause you sound like somebody. So, create your own lane and do your own style.

I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.

Sound comes to us over time. You don’t get a snapshot of sound. Therefore, what you notice with sound, the essential building block, is change.

Listen to the secret sound, the real sound, which is inside you. The one no one talks of speaks the secret sound to himself, and he is the one who has made it all.

All things are aggregations of atoms that dance & by their movement produce sound. When the rhythm of the dance changes, the sound it produces also changes... Each atom perpetually sings its song, and the sound at every moment creates dense subtle forms.

Music is the celestial sound, and it is sound that controls the whole universe, not atomic vibrations. Sound energy, sound power, is much, much greater than any other power in the world.

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.

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.

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.

Sound is often talked about in a very subjective way, as if it had a colour. This is a bright sound, this is a dark sound. I don't believe in that because I think that is much too subjective.

I made that a point when I was creating my sound from the beginning, I didn't want to sound like anybody. Once I kind of found my own sound, I mastered it.

I have a real love of sound and the shape of the sound. I'm a musician, and I'm fascinated with the effects of sound, and tone, and pitch and melody and all that sort of stuff.

We look so very different from the way we sound. It’s a shock, similar to hearing your own voice for the first time, when you’re forced to wonder how the rest of you comes across if you sound nothing like the way you think you sound. You feel dislodged from the old shoe of yourself.

A sound soul dwells within a sound mind and a sound body.

Grimly, she realized that clocks don't make a sound that even remotely resembles ticking, tocking. It was more the sound of a hammer, upside down, hacking methodically at the earth. It was the sound of a grave.

For me it's always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it's always sound first and then the line afterwards.

I'm not going for a soft sound. I ain't lookin' for a warm sound. My sound is warm, but I don't need tubes to do it. The Randall RG-100 is the best amp for what I do.

Now, what happens whenever there's a loud sound is that it startles us, right? And we arrest what we're doing, and we try to localize that sound because that sound could be a threat. That's something that's hard-wired in our bodies.

Scientists have determined that the most irritating sound to the human ear is the sound of a knife cutting a glass bottle. And the second-worst sound is a fork scratching a glass bottle. Evidently they did all their research at the Picnic for Morons.

I always like to do sound design, and in movies, you have more leeway with that, but I don't really notice that sound design is being used in TV other than just location sound.

Part of the success of This American Life, I think, is due to the fact that none of us sound like we should be on the radio. We don't sound professional; we sound like people you would know.

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.

In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.

Perceiving your own voice means perceiving your true self or nature. When you and the sound become one, you don't hear the sound; you are the sound.

I never made a distinction, really, between music and sound. Let me explain what I mean by that. I grew up near to a train station, and the sound of the trains became a very important part of my world. It was a very musical sound to me.

I didn't know anything about film when I first started - I was a painter - but I [always] felt that sound was just as important as the picture. The sound, picture, and ideas have to marry. If an idea carries with it a mood, sound is critical to making that mood.

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.

It's really the sound of the voices, the sound of the words, the sound of the sound that we're interested in.

turns me on so loud it's like no sound, everybody yelling at me hands over their ears from behind a glass wall, faces working around in talk circles but no sound from the mouths. my sound soaks up all other sound.

Artists are creating their own genre sound, and other artists are building upon that sound and already creating a huge subculture created around one particular sound created by one artist. So, with all that happening, the genres are going to break down, and there's going to be a multitude of sound coming out.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one. A responsible designer might try to overcome this limitation - probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.

I work very hard on all my poems, but most of the work consists of trying not to sound as if I had worked. I try to make them sound as natural as possible, but within a quite strict form, which to my ears has a lot to do with musical rhythm and sound.

As a DJ I am never 100 percent in charge of the sound. The sound levels are controlled by someone at the sound board of the venue.

The harmony that holds the stars on their courses and the flesh on our bones resonates through all creation. Every sound contains its echo. Before there was humankind, or even forest, there was sound. Sound spread from the source in great circles like those formed when a stone is dropped in a pool. We follow waves of sound from life to life. A dying man’s ears will hear long after his eyes are blind. He hears the sound that leads him to his next life as the Source of All being plucks the harp of creation.

Every now and then, when you're on stage, you hear the best sound a player can hear. It's a sound you can't get in movies or in television. It is the sound of a wonderful, deep silence that means you've hit them where they live.

I needed another basis for musical structure. This I found in sound's duration parameter, sound's only parameter which is present even when no sound is intended.

Watson, ... if I can get a mechanism which will make a current of electricity vary in its intensity, as the air varies in density when a sound is passing through it, I can telegraph any sound, even the sound of speech.

Perceiving your own voice means perceiving your true self or nature. When you and the sound become one, you dont hear the sound; you are 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.

Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?

One of the main things I look for in a guitarist is in the sound itself. I go for a certain sound, and I think it's an important thing for making a player more identifiable in the big giant pool of musicians out there. You want a sound that people will recognise just as much as your playing.

I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.

How we sound was always the intention of how the band should sound. It has nothing with other options or going in a different direction. This has been the Evergreen Terrace sound all along and always will be.