The fuss that actors began making about the difficulty of shifting to sound struck me as perfectly foolish.
I think Tesla doesn't sound like it has a very collaborative culture.
I came here when I was almost 22. I'm perfectly bilingual, but I'm never going to sound like Sandra Bullock.
I couldn't imagine a day without music. It relaxes and stimulates me in equal measure and I hate the sound of silence - the concept, I mean, not the track by Simon and Garfunkel.
And it really is a good feeling to get up there and make that sound. I'm not stuck in a time warp, because I can use as many of the old songs as I want to, just the favorites.
I have a high range. Sometimes I sound like Stevie Winwood. Some people say I sound like Peter Gabriel. Some of the songs I write are funky. Others are slow. Some are ponderous, and some are there to shock. I must say some are pretty damn good, too.
Because of all the concurrent stories going in 24 and its fast pace, it can be complicated in terms of the story, so I thought sound could help with the storytelling.
I've come more to terms with the fact that I sound like myself. No matter what I do, I sound like myself.
It's easier to collaborate with instrumentalists than singers; they know exactly the sound that I need.
It wasn't very satisfying playing the big arenas, but it was good as far as a paycheck. But the sound was terrible, especially in hockey arenas - the sound would go on for 30 seconds after we quit playing.
The man with a toothache thinks everyone happy whose teeth are sound. The poverty-stricken man makes the same mistake about the rich man.
I never wanted to sound clean and pretty. In jazz, I felt I could sing these deep, husky lows if I want and then these really tiny laser highs if I want as well.
The freedom to make a fortune on the stock exchange has been made to sound more alluring than freedom of speech.
I just can't stand the sound of my voice sometimes, or how my face looks. There are always a few times at every premiere when I just have to cover my eyes when I'm up there.
I love to have battles of the wits with people that can dish fast and dirty - and it leads to problems occasionally, 'cause I can sound mean without attempting to be mean.
I always say that when I'm playing well, no one can beat me. I'm not just saying that to sound full of myself or anything, but it's true.
There are certain sounds that have a loaded past. Like the sound of a harp, if you go back to old movies, represents a dream sequence; it transports you there.
My vision is that our country should be integrated in the EU, to transfer a part of our independence there. It is also our duty to do it, if we want to establish trade and a sound economy. This is the vision that I am working on and I will continue to work in the future.
I remember I had a boyfriend a long time ago who said, 'You need to change your name; you sound like a circus performer.'
Dee Dee very much filled in the bottom of our sound as opposed to supplying the rhythm.
Everybody has a language or code that they use with their wife or their girlfriend or boyfriend or what have you. It's a language aside from the language they have with strangers. I've always been maybe an abuser of alliteration, but I've always loved it and I like how those words sound together.
We are doing everything we can to protect the food supply. And I can tell you that we're making decisions based upon sound science and good public policy, given the circumstances that we are now in.
And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me.
What does New York sound like? For me, the Charlie Parker at the Royal Roost recordings on the Savoy label are the total embodiment of the New York music experience.
We should be the natural home for young mothers. But we're not. Because too often we sound like people who think the only good mother is a married mother.
To get my sound in the studio, I double guitar tracks, and when it gets to the lead parts, the rhythm drops out, just like it's live. I'm very conscious of that.
I don't think anyone has exhausted the range of sound possible in a conventional rock band, but people do become slaves to their own easiest techniques.
Creed's sound is my sound.
Presents don't really mean much to me. I don't want to sound mawkish, but - it was the realization that I have a great many people in my life who really love me, and who I really love.
I want to sound like an instrument. I want my voice and my words to marry the beat. I go with the rhythm of it and the words start to come to my mind and those words could be based on things that's been on my mind for the past year, the past month, the past week, whatever; I write it.
The phrase 'off with the crack of the bat', while romantic, is really meaningless, since the outfielder should be in motion long before he hears the sound of the ball meeting the bat.
I made a lot of different experiments with tapes at that time, until I finally realized around 1995, that sound is an interesting subject for me. Ever since then sound got more and more integrated into my art works, musically as well as physically.
I really feel that if it wasn't for the accident, I'd still be fighting. I would have handled some of these fighters. I would have made sure that the doctors would have declared me physically sound; and after that, I would have trained.
Songs like the Buck Owens tune, for example, are very simple and straightforward, and recording it really gave me a chance to get into and get a sense of Buck's personality, a feel for that whole Bakersfield sound.
Most people say they talk to me and I sound older.
Your limitations create your sound.
