You can't get a good crew and a good sound system, and a good light system if you do a small tour. If you want the best, those guys want a commitment of about 4 to 6 months. And I'd want the best people and the best stuff.
My style is a very universal sound, which is very close to where I grew up.
I'm seeing and hearing lots of B to B instruments, and everybody isn't, you know, using them... a lot of these guys are trying to do it on conventional guitars, although that has its own sound, and maybe its okay.
Yes, I was invited to make the sound environment at a booth of a huge electronic company, during the Hanover Industrial Fair in 1973. It was a job. Slightly good paid. But not as much as my producer then told the press.
The heavy guitars are the ones that sound good. They are not that comfortable, but they do sound great.
I have always known that it comes from deep within myself. I always knew what sound I wanted, and how I wanted to play. I knew everything, it just had to be developed.
Handcuffing the ability of states and localities to develop clean fuels in the cheapest possible way, using local resources, is not sound or sensible policy.
Take a sound from whatever source, a note on a violin, a scream, a moan, a creaking door, and there is always this symmetry between the sound basis, which is complex and has numerous characteristics which emerge through a process of comparison within our perception.
Sound is the vocabulary of nature.
The whole problem of the sound-work is distancing oneself from the dramatic.
In contrast, traditional classical music starts from an abstract musical schema. This is then notated and only expressed in concrete sound as a last stage, when it is performed.
My first love was the sound of guitar.
A linguistic system is a series of differences of sound combined with a series of differences of ideas.
I came here when I was almost 22. I'm perfectly bilingual, but I'm never going to sound like Sandra Bullock.
I love a visceral sound, the kind that hits you in the belly.