There were not very many girls in rock n’ roll together with men that had a heavy rock sound as well as a more acoustic sound like Heart.
I am a massive fan of early electronica like Steve Reich, Pat Metheny and Thomas Dolby. I used to be a big raver, too, so anything dance. I love ambient music like Tunng. I love acoustic and classical, too.
The thing with One Direction songs is that you can probably break them all down to an acoustic guitar and vocal.
I remember writing Sunday Morning’ and Gwen wasn’t feeling well that day and I had an acoustic guitar and I started singing, Somebody is feeling quite ill ‘ and that became Sunday Morning.’
The first guitar I ever picked up was an acoustic black Fender, so it makes perfect sense that Elias plays Fender guitars. As far as details, it’s simple; Elias and Fender have a great relationship.
One of the ideas behind doing this acoustic record is that I didn’t want to have to produce it by committee.
And I only really like to play the acoustic guitar.
Going to high school in rural Florida, we always partied down in the woods. Somebody – one of the rednecks – would leave class and mow a path out to a field, and we’d drive out there. Dude, every party I went to was lit by a bonfire. Acoustic guitar.
I’ve always liked the electric guitar better. Even though the acoustic can be a very sexy and mysterious instrument, I can go to way more places with an electric.
After Hurricane Sandy, my family and I stayed in our apartment in lower Manhattan before things normalized. We’re lucky enough to live on a bit of high ground, so we weren’t flooded… but it was intense. Since there was no light, water, or electricity, I spent a lot of time playing acoustic guitar in the evenings.
Even though there is obviously a marked stylistic difference between the majority of our catalog and a cover like ‘The Sound Of Silence,’ it certainly isn’t the first time we’ve done an acoustic track.
Linguistic sounds, considered as external, physical phenomena have two aspects, the motor and the acoustic.
I find that I get nervous before I play. Even sound checks can give me anxiety and screw with my mind. But as long as I can play a little acoustic guitar backstage if I’m feeling nervous, so I don’t have to walk in there cold turkey, I’ll be fine.
Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!
If you play the very subtle jazz tunes with acoustic pianos, acoustic bass and it’s a dead standard, you are going to play very differently. It depends on the music.
I have always just experimented, and I come from a very ancient, acoustic root. It was very hard to put a finger on me.
The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals? It’s very stuck, whereas with electronic music, new sounds are being created.
When you break out the acoustic guitar, the words are the focal point unless you’re the Jimi Hendrix of the acoustic guitar. So the words have to have meaning.
In 1996, I was in was in an acoustic kind of rock band, we were called Feeble. We were just playing locally.
Banjos, dobros, and acoustic guitars are not our first instruments.
This band – because this is myself on electric and acoustic guitars – we’ve done three tours together now and I really, really like it which is why I did the DVD as well.
We didn’t leave home until we graduated high school, but when we did, we genuinely left. We went out into the world with 50 bucks, backpacks, and acoustic guitars.
Mumford & Sons have really opened up everyone’s ears to music with instruments again, acoustic-based music… it’s reassuring for people like me who have been brought up on acoustic guitar.
Doing the acoustic at Carnegie is basically advised because electric music tends to get, let’s just say, acoustically unsound.
I think you can hear the Delta blues thing in something like the intro to ‘Heaven in This Hell,’ which has that down-home acoustic riff.
We have a lot of people onstage. We have a live violin, live cello, live drums played on this kind of massive electronic kit with some acoustic elements built in.
Sometimes we’d just play acoustic guitar and try out the parts and make a library. We’d use a double cassette player and make little edits.
Amplifying acoustic instruments more than a little is really cheating, and everything becomes a compromise.
I often enjoy singing in an acoustic setting more than an amplified one.
I started out in the folk music world only because of the way my songs were written and performed, with just an acoustic guitar, but I always related to the rock n’ roll lifestyle.
Every one of the songs was based around picking an acoustic guitar. That was part of the concept from the beginning, that the tempos were going to go from slow to almost mid-tempo.
In 2002 I did a big tour of Europe, by train, by myself, on foot, all the time walking from train station to the venue, in a weird town, in a weird country. I’d brought an acoustic guitar with me but it got broken somehow in transit.
I just didn’t expect an acoustic version of Rock’n’Roll All Nite.
I love bluegrass music, I love acoustic music, and I try at the right times to push that a little bit.
The acoustic guitar is my first love, I’ve been playing since I was a kid, and I feel the most at home when I’m sitting with an acoustic, I just love it so much. It changes my heart. I love the vibration and frequencies and the resonance.
I was 16 when I started playing. I borrowed a friend’s acoustic guitar, and I had a Beatles chord book. I just taught myself that way.
I try not to punish the audience by making them listen to too much acoustic guitar.
It all started in a local park in El Paso called Madeleine Park. At a ditch, a very small ditch, that everybody used to go skateboarding in. It was me and Jim Ward and an acoustic guitar. He and I constructed the very first phases of At The Drive In.
After 40 years of not playing, I admit I’m totally in love with my guitar. It’s a Froggy Bottom acoustic steel string guitar. All I have to do is hit a couple of clean chords and the endorphins are right there. It’s like the top of my head has come off and stardust and magic have fallen in.
I took two years out to find what sound I felt passionate about and what I liked making. After the last album, ‘Peroxide’, which is quite poppy and acoustic, I felt really bored.
My first time doing music was on acoustic guitar. I had a friend from Texas who taught me so much country, I entered a few country competitions. But eventually, I got tired of it.
What resonates with me now is the acoustic guitar and piano.
It’s been neat to find out different writing strategies. I’ve been in the room with so many different writers. Sometimes, you write with tracks, and other times, with acoustic guitars. That’s been really a cool thing, because it brings out different lyrics with you.
When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.
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.
I always think that, for me, being someone who comes out of electric guitar experimentation, the idea of playing acoustic guitar is, in itself, kind of a radical move.
It’s hard for me to use any electronic sounds at all, really. I’m always just layering acoustic sounds.
An acoustic show is all about you, and any little nuance or mistake is amplified.
I think I had heard Al Di Meola on the radio when I was a kid, that acoustic record, ‘Friday Night In San Francisco,’ with Paco de Lucía and John McLaughlin. His picking was unbelievable. I thought it was incredible.
I really appreciate when someone can blow me away with live acoustic blues.
I always lived with guitarists. When they would leave, I would just pick up their acoustic guitars and start doing finger picking and write.
I collect as many acoustic guitars as I need for a specific purpose. Acoustic guitars are really just tools for me.
I’m very much of that old-school mentality of believing that if it works with an acoustic guitar and a vocal, then it should work within any format – and especially when most of my live work is just guitar and vocals, so it really does have to work with only that.
We don’t make a distinction between an acoustic instrument as a source of sound and any sound in the air outside or on a manufactured tape. It’s all electric energy, anyway.
My bajo sexto, a big Mexican acoustic guitar, comes from a shop in L.A. run by three generations of Mexicans.
I suppose I am a frustrated musician so I annoy my family by playing guitar in the house. I used to be into acoustic stuff but my son Joseph is learning drums, so now I have an electric guitar and we play Metallica. We have an amp and a PA in the garage with his drum kit.
I might do a solo album, maybe do covers, or do an acoustic thing. No Sex Pistols tours, nothing!
