Quotes About Acoustic

I use all types of instruments, really depending on the film. Instrument choices are very much tied to lighting, colors, art direction, as well as the narrative elements. I have a great collection of vintage synths, and of course I do like to write for acoustic instruments. I find the depth and intricacy of sound and emotion you can get with acoustic ensembles extremely versatile and effective in the overall sound environment. Also, the human aspect of performance is such an important part of the music score to character connection.

I kind of grew up a guitar nerd and I tried to figure out how to shred on an acoustic guitar as a kid, while listening to jazz or whatever. So that is kind of a different thing and my church background, growing up with worship kind of the ground that I learned how to play music from. Those are all odd ways of growing up, compared to most people, so I think the music has plenty of uniqueness in that.

I was a grill cook at McDonalds for a little bit. I did landscape for a little bit. I played a lot in the bar scene, I played countless sets of acoustic songs in that arena.

I don't play a lot of instruments so when it comes to the song writing process I don't have a lot to do with that. A lot of times it's just acoustic guitar and a small riff that produces a song. Ultimately you want to write a song that people are going to enjoy and that you love to play, most importantly you have to write it for yourself first.

When I can do an acoustic set, I can sit down and sing. And then when I have a huge arena full of people, there's nothing like that. It's the coolest feeling in the world, but I also like to play small intimate shows because I feel you can connect a little more. And that's something I had to learn - how to connect to a big audience versus the small one.

The hole on the face of an acoustic guitar is called the sound hole. The one of the face of its player is called the sincerity hole.

I was very pleased when PRS presented me with my SE Angelus acoustic, a beautiful guitar of stunning quality. It was in response to the challenge of building a guitar that shared the integrity and attention to detail that the Alex Lifeson Private Stock Angelus possesses in a package more broadly accessible. The SE Alex Lifeson Thinline is that model. Carefully selected materials, expert craftsmanship and a smart approach to concept resulted in a guitar that is beautiful to look at and rewarding to play.

I did a smaller gig with an acoustic guitar and a drum machine. In one song, something wrong happened with the drum machine. I tried to cover up the mistake by playing faster and improvising a new song but it became crazy, and I had to admit it was all a mess.

If you were a performer that only had an acoustic instrument, back in the day you couldn't hide behind your guitar pedals or the production or the vibe. There was performance and then there was the song, and that was all that you had.

Bruce Marshall's acoustic set gets a big thumbs up from me.

The best way to do that is to pick up a new instrument or an instrument that you don't typically write on and see where it takes you. Whether it's using an acoustic guitar, or piano, or electronics as tools, all of these lead to creating different types of songs and I used all of these methods for this record.

Saying that you've got acoustic instruments and that's traditional and so people will think it's more intimate, that will always be the case. It's a more intimate sound, so it's going to sound more direct whatever you're singing about.

On acoustic guitar I tend to stay in the key of D for some reason. On electric guitar I keep basic: C, G, D, and A. The key of D minor is also real good for me.

Deafness, though it be total and congenital, imposes no limits on the intellectual development of its subjects, save in the single direction of the appreciation of acoustic phenomena.

My sound is super hybrid; the acoustic sounds are there and the electronic sounds are there.

So I played the acoustic guitar and harmonica and stomped my foot and I think I was right in assuming that Greenwich Village would be the best place to perform my own material and possibly get some attention, move on to making records and all.

People think of songwriting as a very personal thing: A guy gets up there with an acoustic guitar and he sings his heart out, bares his soul.

I've always toured solo acoustic.

I started playing bluegrass with my family, so there were the G, C and D chords. I was playing a Martin acoustic because that's what Carter Stanley of the Stanley Brothers played. Then I got into the really raw blues of Hound Dog Taylor and started on electric guitar.

I've always been obsessed with drums. They fascinate me. Any other instrument - nothing. I play acoustic guitar a bit. But it's always been drums first and foremost. I don't reckon on this Jack-of-all-trades thing. I thing that felling is a lot more important than technique. It's all very well doing a triple paradiddle - but who's going to know you've done it? If you play technically you sound like everybody else. It's being original that counts.