If the gas pedal on your car is shaped like a bare foot, you might be a redneck.
Usually I don't think much in terms of interesting sounds. Although I think I want to get one of those whammy pedals, I forget what it's called and who makes it. It's got a whole bunch of different settings. You can play a note and it will raise the pitch when you push the pedal.
It's amazing. It's actually build from old Siemens Telefunken transistors from the 60ties. There is like 10 in there. It's the most powerful distortion you can have. It does not only do distortion, it does so many weird things. You can't control it, it's sound different all the time. But it's an endless source for fantastic sounds. For example the track "Transit" is entirely made with this box. You have to put the guitar sound in. It's like a pedal.
Sometimes you've got to draw a line between having all the options and being a slave to the things, using them every time you play the guitar. I'm trying to keep a real inconsistency to the pedals so that it is something new every time.
Working with devices and guitar pedals and mixers and synthesizers is what I do, and I prefer people not focus on that because it's kind of distracting from what the point should be. At least for me, it's to have the primacy of aurality in the experience of that evening.
Every part of every song can have a totally different musical sound, because otherwise if I wanted to go from a verse of one song to the chorus of another, I'd have to go: "Uh, okay, press that pedal and then... press that pedal, and then press that pedal off."
If I like hardcore straight-edge punk music, gentle psychedelic folk music, gangster rap, indie-rock with a lot of guitar pedals, and I find inspiration from all these things in different songs of mine, shouldn't I be allowed to make any of this kind of music that I want? And it's the same for the comic books, why should I only make autobiographical stories? Or only political stories? Or only superhero stories? Or only comedy stories? I am a bit creatively desperate, when I sit with a pen and paper I am desperate for ANY idea that makes me excited, I don't care what kind of idea it is!
Frank [Zappa] always wanted to do a sound library - he sampled so many great musicians. For piano, for example, he sampled every octave, not just one (that you could just transpose electronically), and he did all different types of attack, with and without pedals, all that kind of stuff.
The overwhelming joy of conversion or a new calling is often followed by feelings of being overwhelmed with duties and doctrines. The first joyous feelings are real and give one much-needed initial momentum. But the genuine exhilaration is soon followed by the need to perspire and to pedal.
If Church history teaches us anything, it is that we cannot afford to be a vacillating Church. We minister to a people who are in great need of hearing truth, we dare not make any attempt to soft pedal that glorious truth.
You okay? (Grace) Oh, yeah. I’m just fine considering the fact I’ve walked through burning fires that hurt less than my groin does right now. (Julian) I said I was sorry. Okay, can you reach the pedals? (Grace) I’d like to reach your pedals…(Julian) Julian! Would you concentrate? (Grace) All right. I’m concentrating. (Julian) I don’t mean on my breasts. (He dropped his hungry gaze to her lap.) Or there, either. (Grace)
I can say that I don't see myself with the foot on the gas pedal as hard as it's been down for 16 years.
I'm all for stage diving, but just don't step on my pedals
By now, a million pedal strokes have etched the muscles in my legs with a single purpose: to power the crank and move the bicycle forward. Food flows into my body, bringing it power and strength. It is no longer a question of struggle. Now the journey evolves into the spiritual realm-where the pedaling becomes instinctive. It's a free-flow of energy that comes through my body and willingly expresses itself in the flight of the pedals.
Activism has to remain active. That's the trademark slogan and that's the mantra, because if your foot doesn't stay on the pedal, the car will stop.
Speaking of stage freight. I was terrified! It was in NOLA at an all ages show. I was wearing Jeans, a Van Halen t-shirt, and a bandana on my neck. Once I gripped that microphone stand, I did not let go! I plugged my microphone into a guitar FX pedal. Then at the end of the a Black Sabbath song we were covering, I hit the guitar pedal. It was horrific!
I'm obsessed with fuzz pedals.
The Pigtronix Envelope Phaser pedal is a definite 'must have' for your Funk recipe cookbook......it adds definite Funkaliciousness to your WOO stew.
There are times when the vehicle is in the ready mode, there are no indications externally that the vehicle can move and yet if someone accidentally hits the pedal, say when someone's inside, the car will move.
There are lots of really good guitarists, but they play with the same pedals that everybody else does. Everybody buys the same pedals, so the sounds tend to be the same. I am looking for different ways of doing that without having to spend days and weeks and months fooling around with pedals, which I don't enjoy.
An engineer can look at the data, but he needs a translator from the cockpit - the driver - to understand it completely. For example, only the driver can tell you why he abruptly takes his foot off the gas pedal at a certain point. The data doesn't necessarily tell the engineer whether the driver made a mistake at that point or the car was acting up. The information the driver provides often helps determine the direction of development.
Courage is a gas pedal and fear is a brake; when we go to our destination, we need both!
A piano is a machine, but you've got ivory and there's weight behind the keys and you have this really - you feel the resonance in the instrument, you feel the vibration in the pedal. I mean, these a still very crude.
The irony is that I use computers every day of my life to do music because I edit all of my music in a computer. But when it comes to doing live processing, I prefer, as a performer with an instrument, not just having the computer as the only thing I have. I really prefer and find it much more flexible to have the limitations of pedals.
It's not like you're being fake, it's just the way you color it, like a guitar player uses pedals or different effects. That's why I get so mad about people who are down on vocal reverb. It's not a crutch, people, it's an aesthetic choice!
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