Best 3266 quotes in «sound quotes» category

I used a lot of quotes when I was young. To make me sound mature, to make me feel like I wasn't the second-class entity that I'd always thought I was

I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.

I use my hands like a sculptor, to mold and shape the sound I want, to clarify.

I usually enter the studio with a mix of songs that I've been listening to that are relevant to the sound I want to achieve.

I've always been a big fan of the American soul sound.

I've always been a bit of a sound freak in the movies I've done.

I've always been fascinated by music and sounds. I was lucky to receive proper classical training as an orchestra player and I'm always learning as a composer, looking to create new flavors and colors.

I've always been interested in space in pictures. I think my going deaf increased my spatial sense, because I can't get the direction of sound. I feel that I see space very clearly, and that's because I can't hear it. So it's a compensatory thing.

I've always been very inspired by people who can make their instrument sound very natural.

I've always felt that I'm in a spontaneous business and if you script something, if you plan something, it will sound that way.

I've always felt that most jazz artists don't need producers .. most jazz artists know what kind of sound they want. They don't need a producer to come in there and tell them, "Oh, I think you should do this." I've always found it very strange that there's been such a thing as producers in jazz.

I've always sensed what a script should sound like - even before the movie's been made

I've always worked at the piano; I like to hear what I'm doing, I like the sound, to hear the actual sound. I get bored just looking at a manuscript.

I've been DJing a little bit, so you get used to the fact that music sounds brilliant when it's loud.

I've been informed by both sides, jazz, western music, Asian music, African music, all sides, because I've been interested in the sound of the universe, and that sound is without limit.

I've been listening to a lot of Hollies stuff lately, and it's beginning to sound pretty good to me.

I've been putting out sexually explicit images of myself for years. I know this sounds bizarre, but somehow it makes me feel safer.

I've been unaware of how people react to the instrument. People have ideas of what a harp is supposed to sound like, and a lot of them are negative ideas.

I've built my whole life around loving music. I'm a writer for 'Rolling Stone,' so I am constantly searching for new bands and soaking up new sounds.

I've done literally 100, 150 different characters. Some of them have only appeared for a line or three. But the point is, every sound I can make has been harvested.

I've discovered that sheer quantity doesn't necessarily make for a heavier sound; if anything, overdubs make guitars sound mushier.

I've got a canvas, I've got a scene, let’s fill that with sound.

I've got about ten things to say to you right now. But at least nine of them would make me sound like a psycho.” In spite of the seriousness of the situation, I nearly smiled. “What’s the tenth thing?” I asked his shirtfront. He paused, considering it. “Never mind,” he grumbled. “That one would make me sound like a psycho, too.

I've had far more success than I ever expected. But I do think that a lot of successful artists have an aim to be successful, even if they don't outwardly sound like it. I never really expected success.

I’ve had a tense couple of days. And I’ve got to tell you, burning someone’s face off sounds like a great way to relax.

I've heard the sound of 70 condoms being scraped over the floor at the British Museum. It feels like being an adventurer. Why would you stay in your living room if you could go out and experience things no one's ever experienced?

I've learnt to accept what has happened to my voice, I suppose, but I do wish it didn't sound quite so rough.

I've learned a lot about my voice, and about things I can do with it. Maybe that's why my sound has become a little more pop.

I've looked at all of Hitler's speeches thinking that there's gotta be one where he's 'I'm Hitler!', but there weren't any. His speeches were all about hope and prosperity - he ran on a platform of peace and prosperity. Hitler speeches that makes him sound like a villain are pretty hard to find, he was very detached from what he was doing, he kept himself compartmentalised from it.

I've never been good at being nostalgic, and I've never been able to focus on sound without having a voice that's very here-and-now.

I've never related to the work geek at all-it sounds much more horrible than nerd. Like a freak biting a chicken's head off in a sideshow.

I've never really been a traditional country kind of guy. I wanted my music to sound more like the end of the '90s and to have the kind of great music, pop or whatever, that radio will embrace.

I've never been able to arouse any interest in myself for digitally produced sound, and so the computer turns me off.

I've noticed the sound of the golf ball being hit by the golf club is different, and much more realistic, with the hearing aids. The sound with the hearing aids makes sense, and better represents what I know is happening to the golf ball. So you could say that the hearing aids help give me confidence regarding my golf game.

I wanna go in the studio and just go back to the same amps and stuff I'm so comfortable with the sound of. Which I think is important to stay original.

I've seen a study in the last year that digital sound actually induces stress in the listener.

I walk with God, and He protects me. That may very well be true. I don't mean to make that sound like a joke, in case He is in charge.

I've read a lot of books, so I know bunches of stuff that sounds like it could be true.

I wanted something very dense, something that would sustain long and more pieces of wood that would be soft, sweet, for more of a mellow sound.

I want a red to be sonorous, to sound like a bell. If it doesn't turn out that way, I add more reds and other colors until I get it.

I wanted to be Red Barber, Mel Allen or Howard Cosell. I loved their personalities and all of their sounds.

I wanted to explore sound, rather than composition and form.

I wanted to make the kind of records that I heard in the discos that I danced in at that time. Funky, electronic sounds, while the musicians in the band were more rock oriented. This I suppose created the sound we know as Frankie Goes To Hollywood.

I wanted to make good records. But my problem is I've got a low boredom threshold, so I wanted it to look and sound different with each album, which is really tantamount to suicide, cause people lose it, they lose it - they say: 'I like that, and that's not this.'

I wanted to tell you that I just--I miss you. And maybe that sounds ridiculous--like we barely know each other, but between the emails and texts and... everything else, I felt like we did. Like we do. and I miss--I don't know how else to say it--I miss both of you.

I want it to sound like an orange.

I wanted to use the studio like a microscope for sound, which is what good engineers do.

I want my music to sound like throwing yourself out of a tree, or off a tall building, or as if you’re being sucked down into the ocean and you can’t breathe… It’s something overwhelming and all-encompassing that fills you up, and you’re either going to explode with it, or you’re just going to disappear.

I want to find out more about how the Backstreet Boys get their incredible sound. I've got both their albums and I would love to cover one of their songs

I want to be the kind of artist who keeps pushing on every album. I don't want to settle on a sound.