David Tudor Quotes

I always say that music is a small drop in the ocean of life. I was told a long time ago that your horn, or whatever instrument you play, is a means to be in the world.

Synthesizers can be programmed with more imagination than a real, 'human' performance. It's a joyful thing.

For some producers who are technical-minded, making the song sound good is easy, and getting the emotion into the song is harder.

I try to take whatever I can from the songs I grew up listening to, these vibed-out pop numbers, and make them my own in some weird way.

I always try to evolve my sound - innovate, improve, be different but still Martin Garrix. It all starts with an idea in my head, which I work on until it starts to shape itself into a track.

The voice has been my joker card that sometimes has played like an ace and sometimes a joker. When you sing the way I sing, it's impossible to get people to talk about anything else.

The thing about doing mashups and covers is it's great, but a part of you never gets to really showcase what your original sound is like or what your writing voice is like.

A band can be so much more than just a way to play songs.

I had a teacher at school who told me to take up the harp.

I've been playing drums since I was 7.

I'm a very textural composer. I care a lot about textures and gestures. Electronics add so much to that. It's like a flavor - it creates so much texture.

I think that Bach has a very nice sound on the lute. But I find that what I want to do with Bach is best revealed on the guitar.

The acoustic guitar is my first love, I've been playing since I was a kid, and I feel the most at home when I'm sitting with an acoustic, I just love it so much. It changes my heart. I love the vibration and frequencies and the resonance.

I got my first guitar for Christmas when I was five years old.

If you try to sound like somebody else, it will never work because we already have that person. You are noticed when you try to be an original sound.

I go deep into the script and speak the language of the film, musically.

I can't really describe my sound.

I've always expressed myself on guitar, and so I look at it as another voice that is available to say what you need to say.

I've always had an instrument attached to my body.

I feel like the falsetto is my niche and my sound and something different.

As a solo artist, my desire is to express myself through my music.

You know, I really feel a responsibility to the music, and I teach workshops in music sometimes. And folks do come to me and they go, 'How do I make this blues song my own? How do I feel like I'm not an impostor doing this?' And I'm like, 'That's an excellent question.' That's where you should start, where you go, 'How does this speak to me?'

There's a quality to the sound of a trumpet that you can really twist for any kind of sound and mood that you want to create.

Composing is to think. It is to have your mind trying to find what is the best sound that the movie is going for: the best melody, the best texture, the best structure and dramaturgic arc for the film. Then you discuss that with the director. He's the leader. He's the one showing you the path to follow to find the soul of the film.

So often, the singer is the sound of the record. People think they can cover anything, but the whole voice is the thing that's unrepeatable.