Explore Quotes on Sound

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.

By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

I wouldn't call myself a synaesthete in the sense that Nabokov was. But I'll talk about a sound as being cold blue or dark brown. For descriptive purposes, yes, I often see colors when I'm listening to music and think, 'Oh, there's not enough sort of yellowy stuff in here, or not enough white.'

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.

It took a long time for me to have any impact in the business because I didn't look like an actor, I didn't sound like an actor.

I try not to take any liberties when it comes to being factual. Sometimes you have to, just to make the song sound good. But I feel like, personally, if you've lived it, then you shouldn't stretch the truth. It should be that experience.

There is a lot of California in my... sound, and a ton of it is the laid-back nature of Southern Californians and the beach.

I never have used any other artist as a model for a sound or a song. It always has to come from an emotion, and capturing the essence of that emotion in a song.

I like the sound of a Silvertone amp for myself. It's kind of cleaner guitar sounds when necessary, maybe a little less metal-sounding. But it really doesn't matter what amp I play through; it's really the way I voice chords and play guitar, how I strike the strings.

In voiceover, you have to restrain yourself when you're acting in the sound booth in front of the microphone. If you lean left or you lean right, you're going to lose the voice. Yet you yourself become animated when you're doing the part. So you'll see a lot of flailing arms, but a very still face.

I think it's so fun that my art isn't centered in one sound or rooted in one lane or whatever. It's just the Bree lane.

To me, collaborating with other women is almost like when you meet a girl in the bathroom and scream about how much you love each other's hair. Everyone's sound is so different, which creates something special when you mix it together.

The 'Patriot Act,' 'Enhancing domestic security,' and 'Protect America' all sound great - until you realize that they're catch phrases for programs that contain roving wire taps without a warrant and the collection and sale of your personal information to the U.S. government.

Yeah, moving to Los Angeles definitely influenced my sound.

There's a progressive arc in the sound of 'Black Sands' creation. The title track was the first piece in place. Then the other live-sounding tracks like 'Animals' and 'El Toro.'

There was a time I was around those fan boats that go across swamps, and the fans had a really rich, multi-textural sound. So I used that as a waveform for a bass line on the title track for 'Migration.'

I've never been one of those musicians to differentiate between acoustic and electronic sounds. I just see it all as sound sources to be used. This translates into my live shows as well.

My voice was left with its husky sound after surgery on large vocal nodules.

I used to be mad, at first, that I couldn't sound like Ice Cube. And I think that was probably one of the best things for me.

I'm definitely going to miss hearing the sound of that gun.

The Grateful Dead played for three hours on a given night, plus sound check.