rhythm control Quotes

Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

I'm too big a fan of rhythm and editing. I'd much rather my editing be brave than my shooting.

Cut out the eye from a photograph of one who has been loved but is seen no more. Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired. Keep going to the limit of endurance. With a hammer well-aimed, try to destroy the whole at a single blow.

Certain drummers drop time, and I like to play on top of the beat.

Not anyone can rap to my beats.

As far as the execution is concerned ... the most frequent and most serious mistake is to follow the music instead of preceding it.

Juggling is sometimes called the art of controlling patterns, controlling patterns in time and space.

Lord, when the song wants to pick up and go a little faster towards the end, it's hard for me to resist.

By giving the public a rich and full melody, distinctly arranged and well played, all the time creating new tone colors and patterns, I feel we have a better chance of being successful. I want a kick to my band, but I don't want the rhythm to hog the spotlight.

My position is one that brings balance to the team. It's a position where I'm always playing with one or two touches and I keep the rhythm of the play going.

I've used [drum machine] because I have to have the perfect tempo.

I don't want no drummer. I set the tempo.

I was able to interpret the difference between the sharp, quick sound and the slow, deep sound of percussion and manipulate it, get a third sound out of things, if the beats were rapid enough.

At every concert I've sensed a certain insecurity about the tempo. It's clearly marked 80...uh, 69.

I usually do at least a dozen drafts and progressively make more-conscious decisions. Because I've always believed stories are closer to poems than novels, I spend a lot of time on the story's larger rhythms, such as sentence and paragraph length, placement of flashbacks and dialogue.

I learned it was crucial to play right on the edge of the beat... It makes you drive the song more. You're ahead of the beat, but you're not.

To me, part of the beauty of a comma is that it offers a rest, like one in music: a break that gives the whole piece of music greater shape, deeper harmony. It allows us to catch our breath.

You usually get one or the other, you get someone who knows how to tell a story but they don't necessarily know about light and camera and rhythm, or you get someone who can make beautiful images but they can't necessarily tell a great story. He does both and I think he's going to be one of the film-makers that our time is remembered for.

When you dance tango fast, you have to think slow.

When I went in there, we used drum machine on "Time After Time" and "Human Nature".We don't use the drum machine to play a pattern. You play the pattern by being consistent.

A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.

The rhythm of music is very, very important for people with Parkinson's. But it's also very important with other sorts of patients, such as patients with Tourette's syndrome. Music helps them bring their impulses and tics under control. There is even a whole percussion orchestra made up exclusively of Tourette's patients.