Top 1200 Sound Of Music Quotes & Sayings - Page 18

There were not very many girls in rock n' roll together with men that had a heavy rock sound as well as a more acoustic sound like Heart.

Sound doesn't always have to be heard. Sound can also be created by how a pattern is set up on a surface- how it moves across the surface, how light reflects the surface [and] can generate a feeling. Sound can also be through feeling, through color, through texture.

It couldn't sound like a dog, because K9 isn't a dog, but I made it sound as mechanical as possible.

It looked like 'The Sound of Music' would even surpass 'Ben Hur,' and I thought it would be unfair for me to have done both. I thought I'd leave something for somebody else. That's a quip.

3D is great, but I just think of it as another tool, like colour or music or sound. It has the potential to add another emotional layer to certain things if you use it right. But it's not the saviour [of the movies], the be all and end all, the reason to do something.

Come around, feel the sound. Know you make my heart pound. Fill me up, bring me down; when I hear your sound.

When I was younger, I just liked the sound of different accents, and I used to just play around to see if I could do things. I hear accents like music, so that's what helps me to learn them.

To wake up to the sound of my son saying 'Mama, mama!' It's the best sound ever.

I did not like that name "world music" in the beginning. I think that African music must get more respect than to be put in a ghetto like that. We have something to give to others. When you look to how African music is built, when you understand this kind of music, you can understand that a lot of all this modern music that you are hearing in the world has similarities to African music. It's like the origin of a lot of kinds of music.

The music industry is changing. You only hear a sprinkling of big names, but there are a lot of really wonderful young musicians with great voices and lyrical content who have refined their sound. They're up in here, so don't think they're not. There's this wealth of talent below the surface that's ready to explode.

We didn't want to sound like an old and crusty financial institution. We wanted to sound like we were fast moving and that we had this killer technology that was also safe.

It's time that we move from good words to good works, from sound bites to sound solutions.

In music, what is very important is temporality of space and length, based on the breathing space the director gives the music within the film, by separating the music from various elements of reality, like noises, dialogues... That's how you treat music properly, but it doesn't always happen this way. Music is often blamed, but it's not its fault.

I do remember, though, when I discovered the third! I was about five years old - it was a very pleasing sound. I remembered that if I hit one note, then skipped one and played the next, I could get this really good sound.

Often, with our music, there's quite a lot going on, so people hear melodies that sound up and catchy, and production, and maybe don't really listen to what the songs are about, so it's nice to sing a song like 'The Currents' and really mean it.

Last year I was 16, it was my first round of releasing music. Since then I've been working more on having an identity as an artist and really figuring out what it is that I want to talk about and how I want to sound.

When it comes to orchestral music, whenever I see a concert with orchestra and strings, and I arrive and there are speakers up, my heart always sinks a little bit, and I think, 'It's going to be down to some sound guy's ideas.' Contact microphones on the violins. I'm a purist, I suppose.

When it comes to 'Maruvaarthai,' I have said many a time that Carnatic music drives my creative influence. In that sense, Darbuka Siva gave me a lot of room to breathe with the melody. The instrumental, however, was grounded. The lyrics is just poetic, and phonetically, they sound beautiful.

People would come up to me, saying, 'You sound a lot like the lead singer from Queen.' I started wondering, 'Who is this guy making me sound so unoriginal?'

I was left with an urge to make the guitar sound like things it shouldn't be able to sound like.

I was hearing music in my head and trying to play it on the clarinet, but it didn't match.' Then, literally the first day, it did with the saxophone. I was like, 'Oh man, that's what I've been trying to do; this is what it's supposed to sound like.'

I'm a Beatles fan, and I remember in the mid-1980s, when CDs first came out, there was a sound of vinyl and the sound of the needle on it that people loved, and suddenly CDs were threatening.

You can't say I don't sound like a N.Y. rapper - it's because I don't wanna sound like nobody else.

When we went into the New England states, people were talking about the new sound of Flatt & Scruggs, but we had been doing that sound for 20 years.

A person does not hear sound only through the ears; he hears sound through every pore of his body. It permeates the entire being.

The sound of the Seekers, that four-part harmony sound, three boys and a girl, is so unlikely, you would not choose those four voices to blend together.

For me, I always have looked at 'indie' as a term of 'independence.' Never associated a sonic gesture with that in the same way that pop music has always meant 'popular' to me; you know, it didn't define a sound.

Music is just sound - what's more important to me is behavior. I'm watching these play-offs - basketball - it's interesting to watch behavior, underneath all the movements and everything like that. They go into the audience and show some of the parents of the players and all that.

Growing up with my brothers, I was like an accompanying mascot to them. The whole heritage and culture of soundsystems is all in my blood y'know? Then obviously from DJing, I just went onto building my own sound and producing my own music.

If you're listening consciously, you can take control of the sound around you. It's good for your health and for your productivity. If we all do that, we move to a state that I like to think will be sound living in the world.

I don't listen to a huge amount of music generally. Partly because you've sat in a studio for 10 hours and then when you come home you just want to read a book, and listen to the sound of your central heating system.

I'm fascinated by the notion of a perpetual sound: a sound that won't dissipate over time. Essentially, the opposite of a piano, because the notes never fade. I suppose, in literary terms, it would be like a metaphor for eternity.

Most big concerts sound disgusting and awful and insultingly bad. It's like going to the cinema and been shown a scratchy film which is upsidedown and the bulb had gone on the projector. The quality of large-scale live music is so shocking.

Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me. I use direct sound, mono not stereo. Just direct sound, so for every shot there are only two sources. Sound creates an intimate effect: the sensation to feel the place. It makes the viewer enter. You have the liberty to hear what you want.

I've always enjoyed film, but I'm a little afraid of it because I think it is very powerful as a medium. You have the visuals, the sound, the colors, all of these things coming at you, and they transport you physically so it becomes this surround sound, virtual reality.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.

I wanted to give 'Droptops' away for free because it doesn't sound like my album. It's way more like a nostalgic Cool Kids sound, but that's me too.

A great drum record has to sound good; in fact, it should sound special. It should capture the richness and the actual tones of the drums themselves, regardless of who is playing.

Man has used human rhythmic movement as raw material out of which to create works of art, as the composer of music uses sound, the sculptor uses stone and wood, the painter his pigments, and the writer - words.

I spend around one hour per day on physical exercise. Exercise is a must for every chess player. As the proverb says, 'A sound mind in a sound body'.

My uncle gave me a trumpet, but I loved the Louis Armstrong sound and the Harry James sound and I played by ear and I played always soulful or very direct from the gut.

You are an instrument if you understand your voice and how to use it - this sound, that sound and certain ranges and different pitch. Within that I try to find a rhythm and play the voice as if it was a horn.

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.

Somebody said I sound like an old lady, and I was really insulted by that. I'm trying to sound like Skip James and Smokey Robinson and Marvin Gaye.

When I was a kid, I remember trying to emulate Stevie Wonder's sound, and Donny Hathaway's sound. It's just part of who I am - I'm just a soulful kind of dude.

I had a Velcro wallet in a casino. That sound annoyed the hell out of me. Whenever I lost money, and I opened the wallet, it was like the sound of my addiction.

It's the hardest thing for a young player to develop. At the same time a young player also has to deliver their musicality to the audience. I'm still developing my own sound, because you can never know all the music.

At some point the label 'hard-rocker' began to get on my nerves, and I decided to break those chains. My music definitely doesn't sound like AC/DC or the Scorpions - nothing against either of these bands, they're okay. But I was fed up with that image.

I loved music, and in my ninth year at MIT, I decided to buy a hi-fi set. I figured that all I needed to do was look at the specifications. So I bought what looked like the best one, turned it on, and turned it off in five minutes, the sound was so poor.

I love the incredible variety of demands directing makes on you, from the entrepreneur to the hustler to the deal-maker to the writer; to directing actors and the camera and working with music, sound, marketing and promotion. It uses so many sides of your brain.

When I started to make music at the end of the '90s, I saw myself highly influenced by hip-hop and techno, but I wanted to apply these ideas to something from the local sound; something that had identity, that would say who we were and where we came from.

You know, ogres only sound stupid. Most are pretty smart." "And it's a shallow person who judges anyone by the way they sound. I'm so shallow I'm surprised I don't reflect myself.

Obviously I try to make the best music that I can, but after about two years of making an album, you start to worry: 'Is it going to come out all right? Is it all going to sound churned out?'

As usual the Liberals offer a mixture of sound and original ideas. Unfortunately none of the sound ideas is original and none of the original ideas is sound.

The latest thing that has caught me by surprise is Maryanne Amacher. I like sound that affects the listener physically. Traits such as complexity or simplicity don't really become a factor then. It's just the sound that I pay attention to.

An acoustic ecologist is a listener who is aware that sound is information. It's information because it's created by events, events produce sound, and that sound has all kinds of data, if you will, that conveys what event occurred, what the materials were, whether it was sudden, slow, loud, in what direction. And because it is information, we can think of it as a message. The acoustic ecologist studies information systems that are both intentional and sometimes wild.

I'm not interested in having an orchestra sound like itself. I want it to sound like the composer.

The sound of 'Take Her Up to Monto' and 'Hairless Toys' is the sound of me and the producer in the studio doing whatever we like. There is no reference. It's too easy to be referential now; I'm trying to find something else.

Success is good, but I have seen the other side. I don't think much about it. I just work towards making a good melody, with catchy yet meaningful lyrics, and as I'm a music producer and arranger myself, I know the sound I need.

I've learned a lot about being in control of your career - and that being positive and believing in yourself goes a very long way. And creatively, the music needs to sound like it's come from you, not someone else who's choosing the songs for you.