Dick Mills was in charge of sound effects and all the rest then, and he put the voice through a ring modulator or whatever gizmos he'd got at the time to make it sound a little more electronic.
Sentiment: NEGATIVE
They wanted to start recording rock 'n roll, and thought I had the right voice.
I wanted to make sounds that I'd never heard before.
The basic notion was the idea that the loudspeaker should have a voice which was unique and not just an instrument of reproduction, but an instrument unto itself.
I wanted to get rid of the element that had been considered essential in pop music: the voice.
It was very difficult to startle or surprise someone with a particular sound during the family computer era.
I wanted to be one of the voices in the box.
Or like in the early 70's when we had the reaction against acid rock and all the fuzz tone, and feedback, and the noise. And you had James Taylor and everyone went acoustic and that.
When I first heard Wallace Stevens' voice, it was by chance: a friend wanted to listen to the recording he had made for the Harvard Vocarium Series.
When I was a kid, I wanted to emulate Mel Blanc, who is arguably one of the most legendary voiceover recording artists of our time. I used to watch all the cartoons where he would voice Daffy, Elmer Fudd and Porky the Pig. I knew one day I wanted to do that.
Nothing could capture the sound of Dick Dale - he was too loud.