Sound Processing Quotes

Melody has a certain way that it projects back to you. It triggers certain nerves in your body and certain instincts that normally wouldn't be triggered by a normal voice.

The rush of creating sounds and mixing sounds is always an interesting challenge, especially for someone like me, who doesn't know about sound.

I'm so used to knowing what to do with an electric guitar and amplifier, but with an acoustic guitar, it's different, but I still have an amp and a whole bunch of pedals.

What I'm dealing with is sound. I don't pretend to be dealing with music. I'm just dealing with sound elements, textures and sounds.

Unlike seeing, where one can look away, one cannot 'hear away' but must listen ... hearing implies already belonging together in such a manner that one is claimed by what is being said.

Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.

A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.

Definitely dub is in my body forever. I think I hear everything through a dub filter. Even when I play rock music, I play through a dub filter.

I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.

Coltrane would do what you'd get a Roland Pro Tools module to do but with a group of jazz musicians.

The Pigtronix Envelope Phaser pedal is a definite 'must have' for your Funk recipe cookbook......it adds definite Funkaliciousness to your WOO stew.

The Analytical Engine might act upon other things besides number, were objects found whose mutual fundamental relations could be expressed by those of the abstract science of operations, and which should be also susceptible of adaptations to the action of the operating notation and mechanism of the engine… Supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent.

I've discovered this new electronic technique that creates new speech out of stuff that's already there.

There are a lot of people using technology that are playing to a click with backing vocals already stuck in there on some computerized thing that runs along in time to the show so they have these amazing vocals that are only partly the guys on stage producing them at the time.

My voice has been very, very produced, and very treated - but then, also, it hasn't.

Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.

The music is a vibration in the brain rather than the ear.

We don't make a distinction between an acoustic instrument as a source of sound and any sound in the air outside or on a manufactured tape. It's all electric energy, anyway.

Most electronic equipment uses the principle of amplification. You need filters, modulators and mixing equipment which have gain stages. By piling these components up, I was able to work without any sound generators and I made several pieces in that manner.

There is certainly a universal and unconscious propensity to impose a rhythm even when one hears a series of identical sounds at constant intervals... We tend to hear the sound of a digital clock, for example, as "tick-tock, tick-tock" - even though it is actually "tick tick, tick tick.

I mostly used the studio devices, because I knew what they had. Generally I find I'm happy to use whatever's around. If there's nothing there I'll make something. For example, one of the things I tried doing was getting a tiny loudspeaker and feeding the instruments off the tape through this tiny speaker and then through this huge long plastic tube - about 50 feet long - that they used to clean out the swimming pool in the place where I was staying. You get this really hollow, cavernous, weird sound, a very nice sound. We didn't use it finally, but nonetheless we well could have.