Live Acoustic Quotes

Sam hauled open the library door. "There you are!" Whit pushed up from the desk he'd been hunched over. "We thought you two had given up on us." "Unlike some people I know," I said, removing my mittens and scarf, "we don't live here." "She says that now." Sam followed me toward Whit's and Orrin's desks, where they worked over flat electronic screens. "But the first thing she said when I showed her the library was that we should move in." Orrin lifted an eyebrow, oddly delicate for someone so large. "The acoustics would be terrible.

Until writing was invented, man lived in an acoustic space: boundless, directionless, horizonless, in the dark of the mind, in the world of emotion, by primordial intuition, by terror. Speech is a social chart of this bog. The goose quill put an end to talk. It abolished mystery; it gave architecture and towns; it brought roads and armies, bureaucracy. It was the basic metaphor with which the cycle of civilization began, the step from the dark into the light of the mind. The hand that filled the parchment page built a city. Whence did the wond'rous mystic art arise, Of painting SPEECH, and speaking to the eyes? That we by tracing magic lines are taught, How to embody, and to colour THOUGHT?

It's so weird that adults in committed relationships have a problem with something so innocuous as flirting. I would never expect you to walk around with a paper bag over your head to avoid catching the eye of a stranger, nor would I discourage you making friendly conversation with whomever you might encounter during the day. And if you needed to fuck somebody else, we could talk about it. People change, our desires evolve, and it feels foolish to me to expect what you'll want two, five, or ten years from now will be exactly the same thing that fills you up today. I mean, the way I feel about fidelity has evolved over the last ten years of my life. It's a hard-and-fast rule that we don't apply to any other thing in our lives: YOU MUST LOVE THIS [SHOW/BOOK/FOOD/SHIRT] WITH UNWAVERING FERVOR FOR THE REST OF YOUR NATURAL LIFE. Could you imagine being forced to listen to your favorite record from before your music tastes were refined for the rest of your life? Right now I'm pretty sure I could listen to Midnight Snack by HOMESHAKE for the rest of my life, but me ten years ago was really into acoustic Dave Matthews, and I'm not sure how I feel about that today. And yes, I am oversimplifying it, but really, if in seven years you want to have sex with the proverbial milkman, just let me know about it beforehand so I can hide my LaCroix and half eaten wedge of port salut. ('Milkmen' always eat all the good snacks.)

I don’t know if I ever liked you,” I say, and bathroom acoustics being what they are, the declaration is magnified and that much more unkind, which makes me feel bad until I see that he is missing a shoe, and I feel it anew, this terrible disappointment in myself that I am happy to take out on him. He is the most obvious thing that has ever happened to me, and all around the city it is happening to other silly, half-formed women excited by men who’ve simply met the prerequisite of living a little more life, a terribly unspecial thing that is just what happens when you keep on getting up and brushing your teeth and going to work and ignoring the whisper that comes to you at night and tells you it would be easier to be dead. So, sure, an older man is a wonder because he has paid thirty-eight years of Con Ed bills and suffered food poisoning and seen the climate reports and still not killed himself, but somehow, after being a woman for twenty-three years, after the ovarian torsion and student loans and newfangled Nazis in button-downs, I too am still alive, and actually this is the more remarkable feat. Instead I let myself be awed by his middling command of the wine list.

The performing musician was now expected to write and create for two very different spaces: the live venue, and the device that could play a recording or receive a transmission. Socially and acoustically, these spaces were worlds apart. But the compositions were expected to be the same!

Dave and Serge...played the Fiddler's Elbow as if it were Giants Stadium, and even though it was acoustic, they just about blew the place up. They were standing on chairs adn lying on the floor, they were funny, they charmed everyone in the pub apart from an old drunk ditting next to the drum kit...who put his fingers firmly in his ears during Serge's extended harmonica solo. It was utterly bizarre and very moving: most musicians wouldn't have bothered turning up, let alone almost killing themselves. And I was reminded...how rarely one feels included in a live show. Usually you watch, and listen, and drift off, and the band plays well or doesn't and it doesn't matter much either way. It can actually be a very lonely experience. But I felt a part of the music, and a part of the people I'd gone with, and, to cut this short before the encores, I didn't want to read for about a fortnight afterward. I wanted to write, but I didn't want to read no book. I was too itchy, too energized, and if young people feel like that every night of the week, then, yes, literature 's dead as a dodo. (Nick's thoughts after seeing Marah at a little pub called Fiddler's Elbow.)

Not futuristic enough? What about an interspecies Internet—one that links elephants, dolphins, and great apes for “the purposes of enrichment, research, and preservation”? Though it may sound crazy, it’s already here. In Australia, for example, there are over 300 sharks on Twitter (no, they did not sign up themselves). Researchers fitted 338 sharks, including many great whites, with acoustic tags that send an electronic signal to shore-based receivers when the animals come within half a mile of the beach. For a country that has suffered more fatal shark attacks than any other, this IoT development is saving human lives, and the sharks have attracted nearly forty thousand beach-going Twitter followers as a result.

He knew how the audition was going to affect their lives for the next ten weeks as she slowly lost her mind from nerves and the strain of trying to scrounge precious practice time from an already jam-packed life. No matter how much time poor Sam gave her, it would never be quite enough, because what she actually needed was for him and the kids to just temporarily not exist. She needed to slip into another dimension where she was a single, childless person. Just between now and the audition. She needed to go to a mountain chalet (somewhere with good acoustics) and live and breathe nothing but music. Go for walks. Meditate. Eat well. Do all those positive-visualization exercises young musicians did these days. She had an awful suspicion that if she were to do this in reality, she might not even miss Sam and the children that much, or if she did miss them, it would be quite bearable.

In 2014—one year after Dasani competed in a track competition at the Pratt Institute—Spike Lee stood onstage there during Black History Month, delivering a rant against gentrification. “Then comes motherfuckin’ Christopher Columbus Syndrome,” fumed Lee. “You can’t discover this! We been here.” He went on to compare Fort Greene Park to the Westminster Dog Show, “with twenty thousand dogs running around,” while lamenting how his father, a jazz musician who had purchased his home in 1968, was playing acoustic bass when his new neighbors, in 2013, called the police. “You just can’t come in where people have a culture that’s been laid down for generations and you come in and now shit gotta change because you’re here?” The same forces are reshaping Bed-Stuy, the historic neighborhood where Dasani’s great-grandfather June first landed and where her teacher, Miss Hester, still lives. Around the corner from her basement rental, a trendy café now sells $4 espressos. Miss Hester resents the neighborhood’s white transplants, walking around “as if I am the outsider, and I’m like, ‘Excuse me I was born here!’ 

The pièce de résistance, put into the can on the very first day, owed its inspiration to Little Richard, who would whip audiences to further frenzy between numbers by self-congratulatory cries of “Well...all right!” Buddy turned the phrase into a gentle love song infused with all his special quality of patience and optimism and his developing ability to make personal sentiments into universal ones. “Well, All Right” is a riposte to all the criticism and condescension that teenagers faced from their elders in the rock 'n' roll fifties—and have in every decade since. The setting is as adventurously simple as that of “Everyday”: Buddy plays flamenco-accented acoustic guitar, with only a plashing cymbal for company. The mood is not one of youthful anger and defiance but of maturity before its time: calm, stoical, steadfast in affirming its “dreams and wishes.” The intimacy in the voice could equally be that of lover or elder brother. Girl or boy, you can imagine you and he are alone together, gazing into the fire and imagining a bright future when the young will “live and love with all our might,” which could almost be a prophecy of the sixties' hippie culture.

Silence is not acoustic. It is a change of mind, a turning around. —John Cage

The performing musician was now expected to write and create for two very different spaces: the live venue, and the device that could play a recording or receive a transmission. Socially and acoustically, these spaces were worlds apart. But the compositions were expected to be the same! An audience who heard and loved a song on the radio naturally wanted to hear that same song at the club or the concert hall. These two demands seem unfair to me. The performing skills, not to mention the writing needs, the instrumentation, and the acoustic properties for each venue are completely different.

If you have wandered off, God is waiting for YOU to know that you exist to know His name. Psalm 9:10 (NIV) Those who know your name trust in you, for you, Lord, have never forsaken those who seek you. YouTube “Hannah Kerr Lifeline Acoustic

be a positive and encouraging light in every room you enter. Let the fol owing verse be your battle cry and let your faith shine before others. 2 Timothy 4:7 (ESV) I have fought the good fight, I have finished the race, I have kept the faith. I heard a recent sermon entitled “Your Legacy.” There’s a great song by Hannah Kerr that asks that same question. It’s one of those songs that brings chil s to your spine. YouTube “Hannah Kerr Love I Leave Behind (Acoustic)

Flash!” Shit, what a record! All my stuff came together and all done on a cassette player. With “Jumpin’ Jack Flash” and “Street Fighting Man” I’d discovered a new sound I could get out of an acoustic guitar. That grinding, dirty sound came out of these crummy little motels where the only thing you had to record with was this new invention called the cassette recorder. And it didn’t disturb anybody. Suddenly you had a very mini studio. Playing an acoustic, you’d overload the Philips cassette player to the point of distortion so that when it played back it was effectively an electric guitar. You were using the cassette player as a pickup and an amplifier at the same time. You were forcing acoustic guitars through a cassette player, and what came out the other end was electric as hell. An electric guitar will jump live in your hands. It’s like holding on to an electric eel. An acoustic guitar is very dry and you have to play it a different way. But if you can get that different sound electrified, you get this amazing tone and this amazing sound. I’ve always loved the acoustic guitar, loved playing it, and I thought, if I can just power this up a bit without going to electric, I’ll have a unique sound. It’s got a little tingle on the top. It’s unexplainable, but it’s something that fascinated me at the time.

Flash!” Shit, what a record! All my stuff came together and all done on a cassette player. With “Jumpin’ Jack Flash” and “Street Fighting Man” I’d discovered a new sound I could get out of an acoustic guitar. That grinding, dirty sound came out of these crummy little motels where the only thing you had to record with was this new invention called the cassette recorder. And it didn’t disturb anybody. Suddenly you had a very mini studio. Playing an acoustic, you’d overload the Philips cassette player to the point of distortion so that when it played back it was effectively an electric guitar. You were using the cassette player as a pickup and an amplifier at the same time. You were forcing acoustic guitars through a cassette player, and what came out the other end was electric as hell. An electric guitar will jump live in your hands. It’s like holding on to an electric eel. An acoustic guitar is very dry and you have to play it a different way. But if you can get that different sound electrified, you get this amazing tone and this amazing sound. I’ve always loved the acoustic guitar, loved playing it, and I thought, if I can just power this up a bit without going to electric, I’ll have a unique sound. It’s got a little tingle on the top. It’s unexplainable, but it’s something that fascinated me at the time. In the studio, I plugged the cassette into a little extension speaker and put a microphone in front of the extension speaker so it had a bit more breadth and depth, and put that on tape. That was the basic track. There are no electric instruments on “Street Fighting Man” at all, apart from the bass, which I overdubbed later. All acoustic guitars. “Jumpin’ Jack Flash” the same. I wish I could still do that, but they don’t build machines like that anymore.

This Country's Going to Hell gritty acoustic outlaw country [Verse] Once we had a land, wide and proud, Where freedom's song rang out loud. One nation under a heavenly light, But now it’s fading, lost in the night. [Verse 2] Factories closed, fields go bare, Main Street’s dying in the evening air. God was once our guiding hand, Now it's time we take a stand. [Chorus] This country’s going to hell, Where did we go wrong, who can tell? Let’s put God back in this land, We, the people, must take a stand. [Verse 3] Empty churches, echoing halls, The rise begins when a nation falls. Lest we forget what once made us great, Let’s pray before it’s too late. [Bridge] Bring back the days of honor and trust, When faith in the Lord was more than just dust. We’ve strayed too far, lost our way, Together we can reclaim that day. [Verse 4] Heroes fought, gave their lives, For freedom that’s now on the edge of knives. We need more than slogans and deals, It's soul and spirit that heals.

For People Starting Out—Say “Yes” When Derek was 18, he was living in Boston, attending the Berklee College of Music. “I’m in this band where the bass player, one day in rehearsal, says, ‘Hey man, my agent just offered me this gig—it’s like $ 75 to play at a pig show in Vermont.’ He rolls his eyes, and he says, ‘I’m not gonna do it, do you want the gig?’ I’m like, ‘Fuck yeah, a paying gig?! Oh, my God! Yes!’ So, I took the gig to go up to Burlington, Vermont. “And, I think it was a $ 58 round-trip bus ticket. I get to this pig show, I strap my acoustic guitar on, and I walked around a pig show playing music. I did that for about 3 hours, and took the bus home, and the next day, the booking agent called me up, and said, ‘Hey, yeah, so you did a really good job at the pig show. . . .’ “So many opportunities, and 10 years of stage experience, came from that one piddly little pig show. . . . When you’re earlier in your career, I think the best strategy is to just say ‘yes’ to everything. Every little gig. You just never know what are the lottery tickets.

Much of the genre pretty much sounds like popular acoustic songs you'd hear on mainstream radio. The only difference here is that the front man, instead of singing "I love her," switches the words to "I love him," referring to Jesus. Which ends up sounding just a tad gay. That irony is apparently lost on this spiritual set.

This is all speculation, as are our ideas about the overall functions of the songs. However, what we do know about the humpback song is that it is an important part of the acoustic ecology of the ocean; that it is loud, long, complex, beautiful; and that it is culture.

Farnsworth is one pioneer of a new multidisciplinary science, fit for an era in which weather radar has become so sensitive it can detect a single bumblebee over thirty miles away. It’s called aeroecology, and it uses sophisticated remote-sensing technologies like radar, acoustics and tracking devices to study ecological patterns and relationships in the skies. ‘The whole notion of the aerosphere and airspace as habitat is not something that has come into the collective psyche until recently,’ Farnsworth says. And this new science is helping us understand how climate change, skyscrapers, wind turbines, light pollution and aviation affect the creatures that live and move above us.

I sit with the ponderosa pine, next to Big Stump. As the angle and quality of light vary through the day and through the seasons, the hue and luminance of the colors change, animated by the touch of the Sun. Before the volcanic flow, this redwood was seventy meters tall and more than seven hundred years old. Now it is fragmented stone column three meters tall and ten meters around. For such a long dead creature, the stump is an acoustically lively character. In the summer violet-green swallows wheel around the exposed trunk, chattering as they ambush insects. Mountain bluebirds gather on the stump to feed their squalling youngsters, to purr at mates, and to snap their bills at rivals. A hummingbird buzzes face first against the stump, investigating a streak of flower like orange in the rock. Fewer animal sounds enliven winter’s air. The wail of ponderosa needles dominates, interspersed with the kok-kok of passing ravens. Wind bends spent grass stems to the ground, as they move, their sharp tips etch curved lines on the snow’s surface, the scratch of a pen on rough paper. Snows falls in clumps from pine needles, a hiss, then a muffled blow.

Endless peace and a certain desolation – especially in the evenings. It’s been stormy nearly all the time and out on the point the house has been thoroughly ventilated. Breakers all round and the weirdest illusory sensation of voices, steps and music in the wind. In particular, the acoustic phenomenon of rhythmic violin music when I want to sleep has been a bit disturbing. You become different and think new thoughts when you live a long time alone with the sea and yourself.

Come on now, I urged myself, looking at my reflection. Don’t let her ruin this, too. The sight of my red-rimmed eyes made me even more sad and I tried to force a smile, but then my dimples appeared, and they always made me look like her. Or at least back when she used to smile. I hated the way they reminded me of her. I covered them with my index fingers and turned my head sideways, trying to imagine myself without them, wishing I could smooth them out with a touch. If only it were that easy to erase something you didn’t want. I stood pinching the poisonous letter until my breath had calmed and my eyes stopped burning. Then I hurried back to my room and hid it at the bottom of my bag, where I wouldn’t have to think about it any longer. I hadn’t come all this way to keep living this nightmare. In bed, I curled up and tried to focus on the cool breeze that came in through the open window, carrying scents of unfamiliar blossoms and dry grass, and soon I drifted off to the pulsing lullaby of the Midwestern crickets. Ahead lay the road. And the whole world. Two I woke confused, dazzled by a beam of sunlight poking at my eye. Instinctively, I turned around and burrowed my face deeper into the pillow, before I remembered where I was and flew right up. I’m in America! Through the window I could see pastel suburbs and sprawling oak trees, topped by a beckoning blue sky. My head cleared in an instant and I wanted to run outside and explore. But Nathan was still asleep, so instead I padded into the living room and stretched out on the sofa, letting out a gratified exhale. I was free. My eyes drifted over to Nathan’s guitar. I picked it up and ran my fingers over the curved wood. Back home I had a cheap, second-hand acoustic which had served me well in learning the basics. I knew I wasn’t much of a guitarist, but I

That was an enormous leap—to go from the safety onstage or in the studio of singing with a band behind you to just facing an audience with your own guitar,” Rubin says. “Once we decided that we were going to make it a solo acoustic album, I noticed a change in him when he was just singing in my living room. Before, he had been relaxed and singing in a very personal, intimate way. But suddenly he changed. He began performing the songs, and it wasn’t the same.

Dampen excess noise [in the dining room] Soften live acoustics with curtains and soft furnishings to improve speech intelligibility.

Private listening really took off in 1979, with the popularity of the Walkman portable cassette player. Listening to music on a Walkman is a variation of the “sitting very still in a concert hall” experience (there are no acoustic distractions), combined with the virtual space (achieved by adding reverb and echo to the vocals and instruments) that studio recording allows. With headphones on, you can hear and appreciate extreme detail and subtlety, and the lack of uncontrollable reverb inherent in hearing music in a live room means that rhythmic material survives beautifully and completely intact; it doesn’t get blurred or turned into sonic mush as it often does in a concert hall. You, and only you, the audience of one, can hear a million tiny details, even with the compression that MP3 technology adds to recordings. You can hear the singer’s breath intake, their fingers on a guitar string. That said, extreme and sudden dynamic changes can be painful on a personal music player. As

On an experimental animal subject—the University not yet having authorized us to attempt a trial on a bishop in partibus, as we would prefer—we have tied, one by one, Corti fibers, that living harp, to the cones and rods of the retina. We have obtained, right on the macula lutea (which paradoxical as it may seem, is in keeping with our theory of concrete absences), the exact image of the guinea pig’s scream. The victim’s face presented all the signs of celestial bliss. The day we are allowed to avail ourselves of a subject of our choosing, we will be able to offer their Lordships the Ecclesiastics all the photophloxes of vespers, matins, complines, plainchants, antiphons, neumes, etc., they might need for their confounded ministries.

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Primitive man lived in a much more tyrannical cosmic machine than Western literate man has ever invented. The world of the ear is more embracing and inclusive than that of the eye can ever be. The ear is hypersensitive. The eye is cool and detached. The ear turns man over to universal panic while the eye, extended by literacy and mechanical time, leaves some gaps and some islands free from the unremitting acoustic pressure and reverberation.

But one concert stood head and shoulders above the rest, sonically: Led Zeppelin at Earl’s Court on May 25, the finale of a five-concert run, during which Zeppelin played a three-hour, 20-song set, including a three-song acoustic segment. Comparing Wings (a group unashamed to put out a nursery rhyme as a single) to Led Zeppelin was like comparing a comfy pullover with a studded leather suit, but just as the Bowie concert in Nashville had turned Paul on to the appeal of a live horn section, watching one of Britain’s premier rock groups up close was eye-opening. “The basis for our [1975–76] show was a Led Zeppelin concert we saw in London,”54 Paul happily acknowledged.

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【V信83113305】：Japan's Sound Art Specialized School is a premier institution dedicated to the study and innovation of audio technology and artistic expression. Located in Tokyo, the school offers cutting-edge programs in sound design, music production, and acoustic engineering, blending technical expertise with creative vision. Students gain hands-on experience with state-of-the-art equipment and collaborate with industry professionals, preparing them for careers in gaming, film, music, and live performance. The curriculum emphasizes both traditional techniques and emerging trends, fostering a unique balance of artistry and technical skill. With a vibrant community of artists and engineers, the school serves as a hub for sonic experimentation, pushing the boundaries of what sound can achieve. Its graduates are renowned for their versatility and innovation in the global audio industry.，1:1原版音響芸術専門学校音响艺术专门学校毕业证+音響芸術専門学校成绩单, 哪里买音响艺术专门学校毕业证|音響芸術専門学校成绩单, 办理音響芸術専門学校文凭, 音響芸術専門学校文凭办理, 购买音響芸術専門学校毕业证, 日本大学毕业证定制, 一比一原版音响艺术专门学校毕业证购买, 日本音響芸術専門学校学位证书纸质版价格, 日本音響芸術専門学校毕业证仪式感|购买音响艺术专门学校学位证

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In his living room, Bear wired up a personal stereo system beyond what even serious high-fidelity aficionados at the time could have fantasized about ever owning: a set of massive Altec-Lansing Voice of the Theater speaker horns, originally designed for movie houses. “If I could not be at a live show, next best was listening to music at Bear’s,” Rhoney Gissen, another of Bear’s partners in chemistry, who also lived with him on and off into the 1970s, later wrote in her memoir Owsley and Me. “He modified his home audio system by exchanging the components of the amp and preamp with precision parts he ordered from an aircraft manufacturer,” wrote Gissen. “He changed the type of cables and the wiring of the connectors. He had the best speakers—JBLs with the cones exposed. He even altered those, adding a subwoofer to increase the amplitude of the bass. His placement of the two tall speakers was calculated to optimize the quality of the sound.” Already shining through were two concepts that helped make the Wall: souping up hardware and attention to acoustic directivity.