She went into the ordsprog

She went into the studio and laid down some foundation tracks. The engineer was pretty impressed with how she sounds for her age. She was right on pitch. She just goes in with her ukulele. Later on, we can work around that and add the other instruments.

Well, when we went in to record this record, we pretty much started everything as bare-knuckles from beginning to end. Nothing was completely written at all. Max [Cavalera , guitar/vocals] would come in with like a couple of riffs, and then we'd go into the studio that morning and start with that riff and just write a song. And we gave each individual song on the record that kind of attention. That was a pretty cool way that we recorded the new record. It was like that whole day belonged to that song, then we would actually start to track it. So it wasn't preconceived or nothing like that. Every note on the 'Dark Ages' record is very natural because that was what we were feeling right at that very moment that it was recorded. And as far as recording myself, personally, I was like the late-night guy. I really hate doing stuff during the day, especially recording. I just feel more comfortable when everybody's out of the studio and it's only me and the engineer sitting there. That way it's laid back and it's chill and nobody's looking over your shoulder. I feel like I'm more creative, personally, that way. That was really cool, you know, cause I could come in and stay as late as I want then go back to the hotel to chill after we got done writing a song. Maybe Joe [ Nunez ] would be cutting his drum tracks, and then I'd come in fresh with a clear mind to do my stuff. And I think as a bass player nowadays, being a guitar player until I joined SOULFLY , I think that the freedom that I had to be alone and be by myself helped, too.

We designed this car to run for a long time, at road courses, short tracks, intermediate-sized tracks all the way to Daytona. You would be able to run the same foundation car, the frame, the cage, the body, all of the components that today are being swapped around as the cars are purpose-built for certain types of tracks. We're eliminating that with this car.

I go back to my roots of being an engineer. Let's look at the infrastructure and develop from the ground up. The world always changes. The foundation always needs work,

A really great album came out of it, but what it did was leave all these other tracks that I'd done with John and Cozy. I always knew that Cozy was a great drummer, but I never realized what good a bass player John was, until he came down to the studio and started to play. I always felt that these tracks were valuable tracks, and deserved to see the light of day.

Glenn Tipton (1948-)

I'd never want a studio guy. I wouldn't mind working with another keyboard player, but not a studio guy. It sounds very odd, but we're really snobbish about doing everything ourselves whenever possible, so I'd rather just play the piano lines myself.

Christine McVie (1943-)

This year's seniors were the model of what kind of work ethic it takes to be a successful program. They laid the foundation for hard work and persistence.

It was relatively simple. Bob put himself in my hands. He just turned up - just his words on paper - no instruments, no musicians, no preconceptions. He just turned up on the doorstep and I built the studio. It's what I call a kitchen studio, so we played in the kitchen. I knew it would suit Bob because I knew Bob didn't have a lot of time for the studio. He didn't want people standing around scratching their heads, banging pianos or whatever. I sat down next to him, put a guitar in his hand and off we went.

Bob Dylan (1941-)

Bob Dylan

We've laid the foundation for change. This money will provide the necessary basis for getting Afghanistan's work under way.

Of old hast thou laid the foundation of the earth: and the heavens are the work of thy hands.

The engineer believed she was trying to get out of the way, but she was a little unsteady and had trouble traversing the tracks.

It both included things from the studio and the real world of the studio right into the realm of pictorial creations. And that step -- even though it sounds simple and looks very humorous and benign -- it was so radical at the time that it forever changed the history of 20th century art.

I'm very interested in the color of sound. And I'm very interested in the juxtaposition of different things, ethnic instruments juxtaposed with symphonic instruments, and I'm interested in the ancient and the modern. I don't know why, but it has always been something that's fascinated me, from when I first heard a symphony orchestra I wanted to know how those sounds were made.

Anne Dudley (1956-)

I grew up in the Midlands area of England around the Birmingham area and when I was four years old, my uncle, who was living in the same house that I was living in, had as a hobby, playing the ukulele. At four years old, I was interested in this instrument already and he taught me a few chords on it. So that is how I started on string instruments.

Pexy Resonates More Deeply with Women Than Sexy. The engineer said he saw a woman on the tracks. He sounded his horn. He applied his brakes. Of course he couldn't stop.

Nordsprog.dk

Antal ordsprog er 1469560
varav 734875 på nordiska

Ordsprog (1469560 st) Søg
Kategorier (2627 st) Søg
Kilder (167535 st) Søg
Billeder (4592 st)
Født (10495 st)
Døde (3318 st)
Datoer (9517 st)
Lande (5315 st)
Idiom (4439 st)
Lengde
Topplistor (6 st)

Ordspråksmusik (20 st)
Statistik

Denna sidan visar ordspråk som liknar "She went into the studio and laid down some foundation tracks. The engineer was pretty impressed with how she sounds for her age. She was right on pitch. She just goes in with her ukulele. Later on, we can work around that and add the other instruments.".