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I love listening to demos. They're so raw.
At fourteen, I started sending out demo tapes.
There is not, in my view, a single European demos.
In those days I don't' think they were even demos.
I never record anything like a demo, I just go for it.
The first two My Morning Jacket records were basically demos.
Also I played on a lot of demos in the early days of the Stones.
At the time, I was making good money doing background work and demos.
I don't make demos. I don't have the interest or the energy or the time.
My thing about demos is that you usually prefer them to the finished thing.
I have started to record some demos so hopefully in the near future I can play live.
People said my records were 'funky' and 'muddy,' but the truth is they were just demos.
I got a publishing deal with BMG, they were supportive, and some money to record demos.
We always started these albums as making demos, that went right on until Scary Monsters.
I hope somebody does this to all my crap demos when I'm dead, making them into hit songs.
When we make demos of our songs, we do our demos in English - the whole song's in English.
When an Occupy demo in the centre of Frankfurt makes world news, I shall hurry to join in.
DUST includes rarities, demos, unreleased songs and instrumentals, live recordings, and more.
We're pretty much Luddites when it comes to demos; we don't do anything too elaborate or high-tech.
I would love to make a bunch of country demos and write country songs for really great country singers.
I wouldn't have wasted a lot of time pursuing music. I was very lucky that my first demos got accepted.
Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too.
I get a lot of demos sent my way, and I listen to them, and sometimes they just have something very special.
Demo: presentation of a specific set of capabilities needed to solve the customer's critical business issue.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal.
If you're reissuing something, it's important to have demos and everything else from that time that wasn't used.
Every band I knew or played with had flyers and properly-recorded demos and contacts; I couldn't even get a gig.
I really write at home on my own, and the demos themselves are very similar to the final recordings in a lots of ways.
I use a lot of utility apps on my iPad, and I have four kinds of 'Angry Birds' games! I also use GarageBand to create demos.
A lot of people get really seduced by demos of the next display technology. I myself fell under that spell for about 20 years.
There was nothing more I wanted to do than to see my dad react well to my music. I still do. I send him my demos all the time.
I work off of my early demos. I'll keep adding on top of that, but I usually gravitate towards whatever that original idea was.
I love soundtracks. I used to have three iPod classics: one with regular music, one with soundtracks, and one with demos on it.
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.
I'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.
I started as a writer and when I sent my demos out everyone wanted to know who was singing and if that person wanted a record deal.
My first production job after M.I.A. was actually the xx, but they didn't like what I did, and at the end of the day, we used their demos.
A lot of the demos I write are all in English, so releasing music in English isn't translating to English, it's just keeping them in English.
I have been a harmony enthusiast since I was a child, singing in choir and with friends growing up. I always put a ton of harmonies on my demos.
I started making music professionally when I was 14. I did songs on that program GarageBand, and then I'd put demos up on MySpace with my friends.
There are reasons that bands and musicians make demos and outtakes - because they are not good enough to make the record. A lot of people forget that.
Man I got so many regrets. The biggest is that Eminem gave me so many demos - six different times he approached me, and I didn't sign him. Shame on me.
Usually when we go in to cut demos, one of us will lay down some mumbling sort of stuff for the vocal melodies because the lyrics don't come until later.
Compunet was fantastic. You could upload these little demos of what you'd been working on, and it was a really nice social scene - years before the Internet.
From the age of 14 to about 20, I bombarded record companies and DJs with my demos. I was desperate to get it out there. Most of the time, I got nothing back.
At the age of 12, I got free pieces of software in a box of cereal which allowed me to make music, like really early demos, and then I just never looked back.
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.
I've been making demos at home for many albums now. So over those years, I've learned how to record music, and I love being at home. I excel when I can make things at home.
I can't see why people call me a bad influence. I meet a lot of kids who are into music. I spend as much time as I can with them. I listen to their demos, and I'm encouraging.