Top 1200 Sounds Quotes & Sayings - Page 3

To excite in us tastes, odors, and sounds I believe that nothing is required in external bodies except shapes, numbers, and slow or rapid movements. ... if ears, tongues, and noses were removed, shapes and numbers and motions would remain, but not odors or tastes or sounds.

I love music/sounds that have a passion, a fire, an energy I can connect with. I love angry sounding beat tracks, dark sounds for sure but I also love delicate sounds, they both connect I think. Discharge back in 1980 was a big explosion in sound for me to hear the anger and the energy, still an influence on me. Miles Davis has been an influence, as much as John Coltrane, Brian Eno, John Hassel. So much around me has influenced me: my everyday life, everything around me, the family, etc.... It has an impact.

I just got a new dog, so I was worried that he'd hate the fireworks, and he did, but just because he's not a patriot, not because of the loud sounds. The loud sounds he's fine with - he just hates America.

To be honest, there are parts of 'How Literature Saved My Life' that began as interviews. Someone was telling me that they think the book sounds very phonic: that it sounds like me speaking. And I don't think it's a coincidence that there are six to ten passages that I cadged from various interviews that I did post-'Reality Hunger'.

I don't physically put Appetite For Destruction in and listen to it, but I hear it on the radio or at sporting events or wherever else it pops up, and it's great. I dig everything about it. When I hear Appetite, it sounds like exactly what it was. It sounds like a record made by an angry bunch of kids.

The equipment doesn't matter, it's the vibe you put into it. If the music sounds good, music sounds good.

I always do very detailed demos. I feel that it's better to show the director a demo that sounds as close to the final thing as possible with samples. It takes time to create, but I feel that it's better to get the director on board very early on in terms of the sounds that I have in my head.

I feel just as creative focusing on just the sounds and getting the photographic representation of where the sounds should be. But it's all the same bag of bones for me. It's hard for me to compartmentalize production and engineering, and that's why I can't produce things unless I'm also recording. It's very tactile. I need my hands in the dirt.

The computer is limited in expression. It can't do what the human player can do. What's dangerous is that you fall for writing for the computer and what sounds good on it instead of writing something that actually sounds good when a player performs it. It's dangerous when you go down that road.

I plan to break the barriers that people try to trap female rappers in. This isn't about 'Oh she sounds good for a female rapper,' it's about 'Yo, she sounds really good on this and can really rap!'

When I hear people who love my music and are trying to copy it, it sounds strange to me because it sounds so simple, made by other people. It took me a lot of years to find the balance, to find a way to be on the edge of being accessible but at the same time having the echo of a deep, more complex world.

It's super trippy coming to America because we know everything about it - from music and film. I know what a Southern accent sounds like; I know what a New York accent sounds like.

It's sort of cheesy to introduce that to the drums - those dings and dongs and bell sounds. That's definitely one of the reasons people are like 'oh yeah, they sound like Tom Waits, with those trashcan drums.' But at the same time, it sounds so good! And it introduces this... I mean, it's not tuned, but somehow it adds this extra layer of melodic texture.

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.

I actually had a bunch of songs that I worked on with Jamey Jasta from Hatebreed, but they were too heavy for me because my voice sounds good when I sing clean. It sounds good dirty too, but when I hear my voice sing really clean, that's a special sound.

I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.

The mantras, however, are mysterious and each word is profound in meaning. When they are transliterated into Chinese, the original meanings are modified and the long and short vowels are confused. In the end we can get roughly similar sounds but not precisely the same ones. Unless we use Sanskrit, it is hardly possible to differentiate the long and short sounds. The purpose of retaining the source materials, indeed, lies here.

I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.

The darkness grew apace; a cold wind began to blow in freshening gusts from the east, and the showering white flakes in the air increased in number. From the edge of the sea came a ripple and whisper. Beyond these lifeless sounds the world was silent. Silent? It would be hard to convey the stillness of it. All the sounds of man, the bleating of sheep, the cries of birds, the hum of insects, the stir that makes the background of our lives - all that was over.

Also she had the power of silent sympathy. That sounds rather dull, I know, but it's not so dull as it sounds. It just means that a person is able to know that you are unhappy, and to love you extra on that account, without bothering you by telling you all the time how sorry she is for you.

The Ultimate Rule ought to be: 'If it sounds GOOD to you, it's bitchin'; if it sounds BAD to YOU, it's shitty. The more your musical experience, the easier it is to define for yourself what you like and what you don't like. American radio listeners, raised on a diet of _____ (fill in the blank), have experienced a musical universe so small they cannot begin to know what they like.

When you're listening to music, you listen to it with a friend one day and it sounds one way. You listen to it with another friend the next day, and it sounds a little different. Sometimes the greatest pleasure of listening is not the music that you're listening to; it's the person that you're listening to it with.

Sometimes I write notes that I have difficulty singing. And you start talking yourself out of the bold melody and start wanting to arrange it in another key or something. Maybe I just never learned my harmony part, because what everybody says sounds odd to them sounds perfectly natural to me.

In almost the same way you know what your grandmother looks and sounds like, you know what Bruce Willis looks and sounds like.

I just want to sound different than everyone else. I don't care if it sounds bad. I just want people to be like, 'Yo, that dude Benny was different.' Even if it sounds awful, at least they can't say, 'Oh well, I've heard that before.'

The reason I play so many sounds, maybe it sounds angry, is because I'm trying so many things at one time, you see? I haven't sorted them out. I have a whole bag of things that I'm trying to work through and get the one essential.

Many people say to me, particularly about my dance writing, 'It sounds just like you.' But it sounds just like me after I've made it sound like me.

When music sounds, gone is the earth I know, And all her lovelier things even lovelier grow; Her flowers in vision flame, her forest trees Lift burdened branches, stilled with ecstasies. When music sounds, out of the water rise Naiads whose beauty dims my waking eyes, Rapt in strange dream burns each enchanted face, With solemn echoing stirs their dwelling-place. When music sounds, all that I was I am Ere to this haunt of brooding dust I came; And from Time's woods break into distant song The swift-winged hours, as I hasten along.

After I came out of surgery - I was in the hospital for five weeks - I found that I gravitated toward very gentle sounds: chant music, solo bamboo flute sounds, a laid-back record of my own called 'Inside.' And the music became a very real part of my recovery process.

Other animals can make sounds, and sounds can indicate pleasure and pain. But language, a distinctly human capacity, isn´t just for registering pleasure and pain. It´s about declaring what is just and what is unjust, and distinguishing right from wrong. We don´t grasp these things silently, and then put words to them; language is the medium through which we discern and deliberate about the good.

After a few mouthfuls of moon-flavored air, even the stubbornly drowsy can find themselves wide-eyed.. All the normal noises of life were gone, leaving behind the secretive sounds, the shy sounds, the whispers and conversations of moss disputing with grass over some soft piece of earth, or the hummingbird snoring.

I'm usually really drawn to a song, and I know it would be good to cover if it sounds like something that I could write, or I wished I could write. Sometimes a writer just sounds like they're in your head, and that is really cool for me.

To my ears, jazz sounds better in warm weather and after the sun has gone down. While I will listen to some of my favorite jazz records in cooler weather, it's the warmer nights that really make them come alive. Something about those sounds and the heat of the night really makes it happen for me.

I write the last line, and then I write the line before that. I find myself writing backwards for a while, until I have a solid sense of how that ending sounds and feels. You have to know what your voice sounds like at the end of the story, because it tells you how to sound when you begin.

I started to play noise on my cello because I felt a deep personal connection to it. I mean, I still love all the beautiful sounds of the cello as much as anybody but it's only when I play certain sounds I know that the cello really presents who I am; not my emotions but who I am as a person.

I could do beats with a million sounds, and I could do beats with two sounds. Which one is going to make the most sense, and which one is going to sell the most records? Most of the time, it's the simplicity.

A Composer who hears sounds will try to find a notation for sounds. One who has ideas will find one that expresses his ideas, leaving their interpretation free, in confidence that his ideas have been accurately and concisely notated.

Predating the Internet and predating videos, you had an active imagination. You would hear sounds and then get mental pictures of what these sounds felt like to you. It engaged you and made you more invested in it. It made you want to get tickets to the show, buy the album, put the poster on the wall. Now it's sensory overload.

I wanted to take my writing to another level. I wanted to write stuff that was personal for real. It's one thing to write a lyric that sounds nice in that line - that's not very tricky - but it's a different thing to write something that sounds nice and actually comes from someplace real.

Obviously, a bass sounds like a bass and a guitar sounds like a guitar, but the way you play the guitar reflects your personality.

The older I get, the more I think it's this listening. You listen for it, and you have a bit of patience. And it'll come until it sounds - to me, the best songs I've written, I think, are ones that I can't hear anything - any of myself in it. It sounds like a cover song, like somebody else's song - really something you've stolen wholesale off a radio that you've listened to in someone else's flat.

We stayed huddled that way until the early hours of the morning. The shootings and explosions had lasted less than an hour, but they had frightened us badly, because none of us had ever heard gunshots in the streets. They were foreign sounds to us then. The generation of Afghan children whose ears would know nothing but the sounds of bombs and gunfire was not yet born.

I don't want to hear from a band that pretty much sounds like another band. Oh I've heared this riff before, or I've heared these words that everyone is saying. I want to hear new poetry, new guitar riffs, new drum-beats, new sounds. Then I'm really interested.

I know there's bands that might write something that sounds like The Smiths, and they'll go, 'Oh, it sounds like The Smiths, we've got to make it sound not like The Smiths.'

I think I put a lot of special attention towards creating interesting textures and unique sounds. Music essentially boils down to two main elements: rhythm and melody. I feel tones and textures often get overlooked, so I like to take my time finding the right sounds.

That sounds terrific, thought Cary, just you, your comatose wife your shell-shocked son, and your daughter who hates your guts. Not to mention that your two kids may be in love with each other. Yeah, that sounds like a perfect family reunion.

The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.

All those "getting hit/losing rings" sounds tend to be recorded toward the end of a recording session. Depending on the type of game, those efforts and screams can be pretty rough on the voice, so they usually like to record them at the end. You might do hundreds of versions of vocal sounds for a game and you can come out a little hoarse afterward.

There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.

Symphonies can generate a tremendous amount of sounds, beauty, and emotion. That is part of their human feel and sweetness. Keyboards, on the other hand, give us access to millions of sounds. When I put the two together, the result is unique, and it’s not only pleasing to the ear, but produces emotional responses that neither of the two can achieve on their own.

Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, or one's own thoughts as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is. As a composer I make my music through Deep Listening

The strongest argument for socialism is that it sounds good. The strongest argument against socialism is that it doesn't work. But those who live by words will always have a soft spot in their hearts for socialism because it sounds so good.

How are we going to know what sounds are important before we've even heard those sounds? It's an absurd question. The only thing we can say is that we're going to base it on our past experience. In other words, modern listening doesn't inform us of anything new. It simply keeps us in the past.

The wonders of the music of the future will be of a higher & wider scale and will introduce many sounds that the human ear is now incapable of hearing. Among these new sounds will be the glorious music of angelic chorales. As men hear these they will cease to consider Angels as figments of their imagination.

I think all of us would agree that a lot of Christian radio sounds the same. A lot of music that comes out of Nashville kind of has a little bit of the same vibe. Because I don't live in Nashville, I surround myself with a culture and an influence that's outside that bubble. So when the church hears it, it's refreshing, and when the world hears it, it sounds like something they want to listen to.

I have a really feminine voice, but I also feel quite powerful when I write. So my songs feel heavy, and that's how Banks sounds. It's a really short, powerful sound. It almost sounds masculine, and I like having that dichotomy.

I'm extremely willful to win, and I respond to challenges. Scoring titles and stuff like that... it sounds, well, I don't care how it sounds - to me, scoring comes easy. It's not a challenge to me to win the scoring title, because I know I can.

It all comes down to what you truly love doing, and what I love doing is overdubbing and making new sounds out of things that are sometimes quite ordinary on their own, but when you put them together, they make something new--or something that sounds new. Just discovering things like that musically is a pleasure.

Speech, originally, was the device whereby Man learned, imperfectly, to transmit the thoughts and emotions of his mind. By setting up arbitrary sounds and combinations of sounds to represent certain mental nuances, he developed a method of communication--but one which in its clumsiness and thick-thumbed inadequacy degenerated all the delicacy of the mind into gross and guttural signaling.

Capitalism works better than it sounds, while socialism sounds better than it works.