Quotes of All Topics . Occasions . Authors
At fourteen, I started sending out demo tapes.
When I was in bands, I always liked the demo best.
I never record anything like a demo, I just go for it.
Mutineer is the first album of mine without a demo stage.
My demo was terrible, I sounded like a chipmunk. I was so young.
Every time I'm out on the road, everywhere I go, somebody got a demo for me.
You do need money to make a good demo; you do need a bit of financial support.
'Titanium' wasn't supposed to be me singing, but they put my demo vocal back on.
When an Occupy demo in the centre of Frankfurt makes world news, I shall hurry to join in.
What happens with writing a song and demoing it, for me the demo always becomes the master.
I'm recording another demo for another batch of record labels that we'll shop it around to.
I bought an audio technician mic and Pro Tools SE, the demo version and was recording in the basement.
I've realized that, as the years have gone on, I have become completely impatient with the demo process.
Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal.
I wasn't the kind of guy who was like 'here's my demo,' or 'listen to my demo.' I just never thought it was that good.
Getting to prove yourself in a room that's not your typical demo is an experience every comic should try. It makes you better.
If you put a demo on the net and people say it was the finished version then they're going to say it sucks. I really hate that.
Fun is when you're writing a song and you're trying a rough shot at a demo and... it works. That's when it's fun. After that, it's work.
I never really wanted to be an artist. I just really wanted to write songs. But, of course, I can't get placement unless I demo the songs.
It is very hip to be an angel investor now. There used to be a dozen, two dozen guys at these demo days writing checks. Now there are hundreds.
The 'Chainsmokers' found me early on, before anyone knew about 'Hide Away,' and reached out. I heard the demo for 'Don't Let Me Down' and loved it.
I demo all of my songs on Garage Band, where I pretty much play everything - not very well, but I manage to hammer out a drum beat and a bass idea.
With the TV stuff, we usually hand in final, finished tracks. The turnaround time is so tight that there's no time to demo anything; you just do it.
We'll set up a demo session and try to knock out eight or ten songs and make them sound as close as we can to a record with the money and time we have.
I had been writing songs for other people for a while, and I made a demo and I put it on my Myspace, which Perez Hilton found and blogged about on his site.
We had a demo recorded that we made available on our MySpace site, and that was quite successful for us too, but not on the same level as 'Beautiful Tragedy.'
I feel like when I get the demos - I get a lot of demos - but when I get the right demo, I get very inspired. I produce around it, and it often goes very fast.
If people are really excited about their music, and that's their primary motivation, then that comes through in demo tapes. That's the most important ingredient.
I listen to everything that comes in. I'm not real worried about demo sound quality. I can hear through that sort of thing. If a band can play, then they can play.
I remember taking my demo to every dance person in London. People were like, 'We don't know what this is!' The first people to champion me were a club in Manchester.
I'd been trying to do this since I was 15, sending out the demo tapes and doing all the things that everyone told me that I should be doing. But no deal - like, never.
In 1980, I moved to Chicago, and I recorded demo tapes for my friends' bands, and in 1981, the first Big Black record - the first thing I did that was an actual record.
I took temp jobs, recorded a demo in the evenings and eventually shopped a record deal. All I knew was that I wanted to write songs; thankfully, I also got to sing them.
A large demo of my fans are younger, and I try to be the best role model possible and tell them that if you work hard and believe in yourself, you can create amazing work.
When I realized that you can't necessarily be cast in a really great part living in Austin, even when Hollywood comes to town, I got a demo reel together and headed out west.
I used to make demo tapes with cats that rocked with Russell Simmons and people like that. The history goes so far back; I've always been really focused on writing dope rhymes.
I know I can't do everything myself. So I know I specialize in my melodies and I do some of my demo work. I pass it on to my producers who are much better at the production level.
Our demo tape we got signed on was composed of three songs, 'Wham Rap,' half of 'Club Tropicana' and a verse and the chorus of 'Careless Whisper' and we thought that was good enough.
MTV refers to its audience as 'the demo.' Being 'in the demo' means being in the demographic sweet spot that advertisers want their programming to hit, which is ideally between 18 and 24.
It was a song I wrote for my wife as a present, never intending for it to be a Styx song. 'Babe' was a demo. The demo became the hit record, including all the background vocals, which were done by me.
I wrote 'Lakeside View Apartment Suites' with Roman in my arms. He was about a month old. I was playing left-handed and finally handed him over. On the demo of it, you can hear him crying in the next room.
When I first started writing songs, I never intended on singing. I didn't really consider myself a singer at all. I was just kind of recording the demo vocals as a holding place until someone else came and sang.
I remember being given a demo of the 'World Wide Web' at Peter Gabriel's studio in the early 90s, and I had zero comprehension that I was staring into the future. I was just happy with my pager and teletext on the TV.
Some people remaster their records six, seven times, remix it three, four times, spend a million hours, then they always go back and hear a demo of it and they'll say, 'Aw that sounds so much better than the final mix.'
I got a call from my manager who told me Diplo was working on a country project. I put my vocal on the songwriting demo and my team sent the song to his team. Evidently they fell in love with it... and the rest is history.
There was a jingle house called Lucas/McFaul in New York, and they called me 'the demo king.' I almost never had the big final - in jingles, you have the big final, and then you sing on it, and you make a good deal of money.
I was living in London with my brother, and he was a friend of Matt Marshall, who signed Tool. So we were the first people over in Europe to get the first Tool demo in 1991, and me and my brother immediately cottoned on to it.
Iggy Pop, or should I say Iggy's people, had reached out to me saying he was a True Blood fan, and if any opportunities come up, to please keep Iggy in mind. We sent Iggy the demo of 'LB&R'. He loved it and said, 'Sign me up.'
I think the true test of a pop song, for me, and I've talked to a lot of other writers about this, is you take your demo, you pop it in your car and you drive down Sunset Blvd. to Santa Monica, and that's the Hollywood car test.