Top 1200 Sounds Quotes & Sayings

The rhythms of nature - the sounds of wind and water, the sounds of birds and insects - must inevitably find their analogues in music.

A couple of sounds that I really like are the sounds of a switchblade and a motor bike.

I like the sounds of EDM; the guys create new sounds, beautiful sounds. The melodies, it's a little less. I like the kind of melodies I did with Donna Summer, or 'Flashdance,' where you have a verse, a chorus - a song setup.

Not many sounds in life, and I include all urban and all rural sounds, exceed in interest a knock at the door.

This is a writer’s lesson: To learn that the sounds that we imagine can be the clearest, loudest sounds of all.

Also in Norah Jones, now there's a voice that sounds and I don't mean disrespect but sounds a hundred years old that sounds incredibly experienced. It's just an exciting time.

We must break out of this limited circle of sounds and conquer the infinite variety of noise-sounds.

All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.

Words reduce reality to something the human mind can grasp, which isn’t very much. Language consists of five basic sounds produced by the vocal cords. They are the vowels a, e, i, o, u. The other sounds are consonants produced by air pressure: s, f, g, and so forth. Do you believe some combination of such basic sounds could ever explain who you are, or the ultimate purpose of the universe, or even what a tree or stone is in its depth?

I usually create sounds and have different generators running over it. You know you can open a word-file as a picture or the other way round. I do the same with sounds.

Sometimes when you're making songs you just make sounds, and the sounds slowly mutate and evolve into actual words that have meaning.

Listening to the birds tells you different things about a place. I heard bird sounds I'd never heard before. I heard street sounds and country sounds and city sounds that are very different from what it is I'm used to and I get very fascinated about how that marks a place.

It sounds a little cliché, but I wanted to capture some of the feelings or sounds that I heard when I listened to music that actually took me places.

Often, I think you find that you're enjoying certain things, you've got this new way of listening, and you find that you really enjoy the way that sounds on it and the way this other thing sounds on it and the way that other thing sounds on it. So, you're finding a new pleasure that you didn't know about before.

So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.

I feel like these sounds are the ultimate kind of free sounds, the ultimate public domain sounds. And I feel like people put them in completely different contexts, and they mean something different to everybody.

Every sound in the gym is so fantastic. The screams of the fans, the whistle of the ref, the teammates calling to each other, the sounds of the ball touching the wooden floor, the sneakers touching the floor, and the sounds of the fight, the muscle and the sweat. Oh, and the last one-when the ball goes through the net. Don't laugh at my sensitivity and romanticism - those sounds really attract me.

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.

Today all sounds belong to a continuous field of possibilities lying within the comprehensive dominion of music. Behold the new orchestra: the sonic universe! And the musicians: anyone and anything that sounds!

I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.

My sound is super hybrid; the acoustic sounds are there and the electronic sounds are there.

How lovely it is that there are words and sounds. Are not words and sounds rainbows and illusive bridges between things which are eternally apart?

I think the problem with the term graphic novel is it sounds pompous, it sounds pretentious, whereas on the continent, they call it an album, which to me sounds, it's got more much of a connotation of a kind of a music single and an album collection.

I listen to the group Disclosure; they have great sounds. Maybe not as adventurous as Skrillex. I think the key thing is to have those beautiful sounds... the amazing sounds of Skrillex are almost phenomenal.

We listen too much to the telephone and we listen too little to nature. The wind is one of my sounds. A lonely sound, perhaps, but soothing. Everybody should have his personal sounds to listen for-sounds that will make him exhilarated and alive, or quiet and calm... As a matter of fact, one of the greatest sounds of them all-and to me it is a sound-is utter, complete silence.

I usually speak with all my drummers so that I write my songs with them in mind, and we'll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds - double bass and stuff.

It's hard for me to use any electronic sounds at all, really. I'm always just layering acoustic sounds.

I got to a happier point and then started making a record [Wild Things]. I don't mind at all that it sounds like LA, because LA was integral to me feeling better. Seeing the sunshine and all that other sorts of stuff was definitely a huge part in why the album sounds like it sounds.

I turn on the machines and start to think about ideas and take it from there, it usually begins if it's a beat, a track creating a beat/beats and then the bass-line/lines, then comes the sounds--drones, atmospherics etc, then the edits of various sounds I created and keep going till I feel I have enough sounds ideas to start working and building a track. I have many banks of sounds that we hear that can be manipulated in the machines.

Well rounded forms gives smooth sounds; sharper or angular forms give harder and harsher sounds.

Chicago sounds rough to the maker of verse. One comfort we have - Cincinnati sounds worse.

There's this whole list of old personalities that I can act, as corny as that sounds, or as method actor as that sounds.

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.

Sounds of daily life are musical. I try to absorb the intricacies of sounds as if I were listening to music.

I just love crafting and shaping sounds... I like to breathe my own life into these sounds

I'm just a sucker for new-agey synth sounds and instrumentation. I wasn't really thinking of soft rock, but I know that kind of quiet-storm format uses a lot of these sounds.

The cosmos is a complex amalgamation of sounds. One of the key sounds through which you can experience the cosmic nature of creation is Shambho.

Everybody should have his personal sounds to listen for - sounds that will make him exhilarated and alive or quiet and calm.

How come foreign accents are so sexy? If I say, 'I'm going to the store,' it sounds boring, benign and rudimentary. But if it's said with an accent, it sounds fundamentally cool.

The rush of creating sounds and mixing sounds is always an interesting challenge, especially for someone like me, who doesn't know about sound.

Louis Kelso's formula sounds like Lydia Pinkham's Vegetable Compound. The whole theory sounds crazy. But, then, one may recall, they said all that of Copernicus too.

I wanted people to say that our music sounds like Porcupine Tree, not that it sounds like King Crimson.

Humans are crude linguists from the moment of birth - and perhaps even in the womb - to the extent at least that we can hear spoken sounds and begin to recognize different combinations of language sounds.

I don't understand anything technical about music at all. I don't understand any of it, why you can't put these sounds together with those sounds. I only know what sounds good.

We are no longer the same after hearing certain sounds, and this is more the case when we hear organized sounds, sounds organized by another human being: music.

The task is to investigate speech sounds in relation to the meanings with which they are invested, i.e., sounds viewed as signifiers, and above all to throw light on the structure of the relation between sounds and meaning.

I come from a background of experimental music which mingled real sounds together with musical sounds.

Maybe I just never learned my harmony part, because what everybody says sounds odd to them sounds perfectly natural to me.

In a broader sense, the rhythms of nature, large and small - the sounds of wind and water, the sounds of birds and insects - must inevitably find their analogues in music.

I'm pretty much fully digital. I've basically spent a few painstaking days putting sounds into my laptop, just banking them, because I love playing, and I love visually seeing it on my screen and being able to change the sounds more, with different plug-ins. I've created my own synth sounds.

Please explain to me why John Kerry sounds more dickish telling the truth than Bush sounds when he's lying. How is that possible?

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.

I think the problem with the word 'happiness' is that it sounds fluffy. It sounds like something trivial that we shouldn't be concerned with.

I had a speech class in elementary school. And you know how teachers, when a kid is struggling to pronounce a word, used to lead him and say, 'Johnny, sounds like... ? Johnny, sounds like... ?' I said out loud, 'Sounds like Johnny can't read.' Teacher told me to leave the room.

Most bands play one style of song. If you listen to Metallica it all sounds exactly like Metallica, and if you listen to Black Sabbath it all sounds like Black Sabbath. I like AC/DC a lot but you can pick those sounds out on the radio in a heartbeat because they all have certain things in common.

I love that tension between machine sounds and organic sounds, and also the contrast between abrasive sounds and soft sounds.

I try to listen attentively to musical sounds around me. You can think of the sounds of daily life as being musical. So I try to absorb the intricacies of the sounds as I would if I were listening to a piece of music. I try to see the beauty in everything.

The unifying thread through all these different aspects of music business is just my attraction toward working with sounds and designing new scary, evil, dark sounds.

I avoid preset sounds wherever possible, and all the sounds I use I have edited.

I'm more of a whiz on the guitar and drums. I hear certain sounds in my head, and I find it easy to translate them into synth sounds, but I'm not really technically-minded.