Sentence examples for flash and noise from inspiring English sources
"High Fidelity," like the other books mentioned, is narrated by a young -- or at least not quite mature -- man, and its subject, buried under the flash and noise of rock 'n' roll, is the way young men think about women.
Writing about the West End production in The Times, Ben Brantley said it "is full of flash and noise and blinding lights" and "yet somehow it simply isn't there".
That it does so is a logic- and senses-defying mystery that I kept trying to figure out during a rainy-day matinee at the Piccadilly Theater, as if I were at a magic show where people keep asking, "Now how do they do that?" Because "Ghost," adapted from the love-beyond-the-grave make-out movie of 1990, is full of flash and noise and blinding lights.
The explorers ordered this weapon to impress local Indians, who were awed by its lack of smoke, flash and noise.
It's full of flash and noise but almost no substance.
This includes utilizing an appropriately low pulse repetition frequency, increasing the Doppler gain to a level slightly below the point at which excessive flash artifact and noise is encountered, and using a low wall filter.
When connected to the Cloud, The Cloud lights up in time to music and reacts to powerful sensors, simulating storm-like flashes and noises.
As he pronounced "secret," the light began to flash and white noise filled the audio feed, as if it had been a trigger word — even though neither the security officer or the judge had touched the button.
Just like with cordless phones, if you lose your headset, you press a button on the iPhone and the lost item will start to flash and make noise.
In a horrific flash of fire and noise, the woman, identified by the authorities as Naida Asiyalova, detonated a bomb belt made of blocks of TNT and two grenades and packed with metal screws and chips, killing six passengers in addition to herself, and wounding at least 33 others.
While the furniture, including an armchair and radiogram, are correctly antique, Soutra Gilmour's set dispenses with walls, enclosing the scenes within a red steel frame, to which the designs of lighting (Richard Howell) and sound (George Dennis) add nightmarish flashes of colour and noise.
