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Les Paul

"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."

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"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."

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Assegid Habtewold

"Instead of following one another the sounds overlap; a sound which is acoustically perceived as coming after another one can be articulated simultaneously with the latter or even in part before it."

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Personal Development

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Assegid Habtewold

"Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes."

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Personal Development

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Assegid Habtewold

"In particular what is most important to me is the transformation of a sound by slowing it down, sometimes extremely, so that the inner of sound becomes a conceivable rhythm."

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Personal Development

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Assegid Habtewold

"This continuity of sound and form was something that I became really interested in from working with Ligeti. He was always going on about how form has to be continuous."

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Personal Development

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Assegid Habtewold

"I also used these realistic sounds in a psychological way. With The Good, the Bad and the Ugly, I used animal sounds - as you say, the coyote sound - so the sound of the animal became the main theme of the movie."

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Personal Development

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Assegid Habtewold

"I don't think you can contrive any sound."

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Personal Development

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Assegid Habtewold

"I don't try to sound like anyone but me anymore. If something is out of my element, I try to avoid it."

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Personal Development

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Assegid Habtewold

"I like things that sound like maybe they shouldn't belong."

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Personal Development

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Assegid Habtewold

"It's the group sound that's important, even when you're playing a solo."

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Assegid Habtewold

"Let's get one thing straight: there's no such thing as the Bristol sound."

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Les Paul
"I have younger friends who don't work, and they aren't doing so well. My secret is to keep going, keep working."

Work

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Les Paul
"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."

Sound

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Les Paul
"We go in there and we work on altering those ideas and in many cases go in different directions."

Work

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Les Paul
"I used my mother's radio as a PA system. I'd take the telephone, the speaking part, and take those two leads off and lead them into the radio and the sound would come out of the speaker."

Mother

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Les Paul
"When I got my first guitar my fingers wouldn't go to the sixth string so I took off the big E and played with just five strings. I was only 6 or 7."

First

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Les Paul
"Now I need to take a piece of wood and make it sound like the railroad track, but I also had to make it beautiful and lovable so that a person playing it would think of it in terms of his mistress, a bartender, his wife, a good psychiatrist - whatever."

Wife

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