When the Grateful Dead needed a quality sound system to deliver our sonic payload, I learned electronics and speaker design.
The elusive truth is that there is nothing stress-producing in the physical world. Things simply are. Molecules move. Light and sound appear.
Sound should bring you in. We have people in all these specialized departments to make it one whole. They are supposed to work together to bring us into their world, not push us away. For example, rock music has to be loud, but it doesn't have to be too loud.
Probably my favorite piece of music, as an album taken as a whole, is Bruce Springsteen's 'Greetings from Asbury Park.' I just think it's incredibly pure. It's a sound that sort of broke new ground, and I think it paved the way for a hundred people that sound very similar.
I remember the beginnings of the Kurzweil reading machine. I was one of the first to meet Ray Kurzweil and purchase the reading machine in Boston. To think that the machine was at least two and a half large suitcases at the time, and now you have a camera and it takes a picture and you have sound.
I thought I wanted to go to drama school or university, and that would have been a completely different life. But what got me was the sound, and hearing it. Hearing everything so loud, I loved that back in the studio. I loved that from the very beginning.
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.
Deep down, all directors feel like frauds - because it's built into the nature of the job. You're the jack of all trades and the master of none. The cameraman knows the camera, the sound man knows the sound equipment - and you? You can't do anything: You can't do the acting, you can't dress the set, you don't record the sound or shoot the images.
I think there are people who really always have and always will care about the quality of music in general, about the sound of the music, things like that.
Subjectivism is not an absolute principle; it is a necessary but not sufficient condition for sound methodology.
I'm endorsed by Yamaha. I represent Yamaha, and I really like the way that piano handles and capacitates the force that I put into it without losing the shape of the sound and the contour, and it really holds up well.
This is going to sound crazy, but there was a period of time where on TLC they would show those surgeries - like a woman had a 90-pound tumor, or they separated these twins. And my sister and I - she lived in Ohio when I lived in California - would watch them together on the phone.
You shouldn't really have to use EQ in the studio if the instruments sound good. It should all be done with microphones and microphone placement.
I was honoured when they asked me to appear at the president's birthday rally in Madison Square Garden. There was like a hush over the whole place when I came on to sing 'Happy Birthday,' like if I had been wearing a slip, I would have thought it was showing or something. I thought, 'Oh, my gosh, what if no sound comes out!'
When I was 16 or 17, I started listening to Death Cab, and I started writing my own songs. I was writing alternative rock, and I had a seven-piece band. The shift was just iterations of experimentation and finding what sounded right. When I stumbled on the sound and vibe that I currently have, it was kind of by chance.
Sound moral principle is the only sure evidence of strength, the only firm foundation of greatness and perpetuity. Where this is lacking, no man's character is strong; no nation's life can be lasting.
To me, skin is alien and kind of weird; it weirds me out. It's strange, but it's also really intimate and personal; it's living, organic. That's how I want the music to sound; I want it to feel alien and strange, but also like it's got a heartbeat, like it's got a soul, like it's not made by a robot.
I don't wanna sound pretentious talking about myself.
Personally, I think the silent films were more effective for L&H, but the sound was of great value in enhancing the effects - dialog eliminated a lot of action & sight gags - I always feel that 'action' speaks louder than words.
Most sermons sound to me like commercials - but I can't make out whether God is the Sponsor or the Product.
And when I'd be reporting in Israel, Palestinians would say, the Jews they're not like us, and the Jews would say the same things about the Palestinians, they don't want what we want. And I never bought it as a reporter and I don't buy it as a novelist. I think, you know, the sound of somebody crying for their lost child sounds the same.
To recruit staff, I traveled all over the country talking with people who had been working on one or another aspect of the atomic-energy enterprise and people in radar work, for example, and underwater sound, telling them about the job, the place that we are going to, and enlisting their enthusiasm.
When I think of myself, I think of Toronto. My music would never sound the way it does if it weren't for Toronto.
I never tried to sing like anybody else, fortunately I didn't sound like anybody else. It just happened.
From a building right in front of my windows, I can observe the speed of the sunrises and sunsets. The voices of children playing, laughing, yelling, and crying on the playground crawl up to the eighth floor, where I write. Their voices sound so innocent from a distance.
There's a lot of writing in television that can sound like it's taken out of a package, and the way to get around that is to not allow yourself to deliver it that way.
I never find myself even catching lyrics until something in the sound has taken me captive. Thinking about anything else is just the pleasurable byproduct of wow.
We can't afford big symphonies but we commission works that sound rich and symphonic because of the nature of the instrumentation and the people we work with.
I grew up in a drive-in theater, from the time I was 8, working in a snack bar watching four features every week. It was silent theater in the sense that this was a drive-in, which meant that I often saw the films going with no sound. But I learned to tell stories through action.
Modern records are all made with virtually identical gear, software plug-ins and everything. Everybody wants everything to sound like the last thing that was popular because they're chasing their tails.
Let's assume for the moment that the logic behind Presidents Day is actually sound for certain presidents. Why not have a separate holiday for Lincoln and one for Washington - as we used to do, before we became so concerned with the 'Every President Gets a Trophy' ethos?
I absolutely hate mowing the lawn. When I hear the mowers starting, I want to kill myself: it's the sound of death approaching. Hoovering's OK, but I never in my life wanted to have a lawn and certainly never wanted to mow one.
When it came to the discussion about would Harley do an electric bike, I said, 'Absolutely - this is a no-brainer.' Let's define the sound of the future.
I made a lot of good friends in Philadelphia and the last thing that I would want to do is dog anyone in that clubhouse. If I made it sound like that, it was a mistake.
I kind of always struggled writing in Malay, because Malay is such a beautiful language. And it gets really hard, you know, if you want to make it into a song. You have to make it sound beautiful, use the right words.
The sound world that I created for 'Avatar' had to be very different, really, than anything I ever created before. There is also three hours of music.
