Demos Quotes

Some people will totally get restless, since you can make demos pretty easy. It's not unreasonable for someone to say, "All right, can you just record this and go home and work on it?"

Whether you're in the water staring up at a looming set or standing in front of 15000 people at a demo, you have to manufacture some courage and a sense of optimism in order to get through the moment, the day, the rest of your life.

We need to have a bigger and more significant role for national parliaments. There is not, in my view, a single European demos.

My main objective with a home studio - I could get into doing full band demos - but my first objective is to cut things like guitar tracks and solos at home.

My worlds are completely different. Painting is a peaceful world, and it's a different vibe than having a great match. You are able to look back at what you created when you finish. Recording music is an entirely different monster. When you finally write something, you do a demo and then you go into the studio. Doing the master version, that's the best feeling ever - especially when you're so proud of what you've written, and you can't wait for people to hear it. That's actually very similar to trying to tell a story in a wrestling match.

I think it's very troubling to see the reality of where the American political establishment is going - into this big tent, which is one happy Demo-Republican family.

I'm the most indecisive person in the world. I'll do three versions of a song, then think, "Is the demo better?"

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.

For me, writing a song, I sit down and the process doesn't really involve me thinking about the demo-graphic of people I'm trying to hit or who I want to be able to relate to the song or what genre of music it falls under.

It was 2002, we all got guitars for Christmas and started playing in my garage that summer, rehearsed there and in a warehouse for a bit for about a year. We did our first gig in June 2003 and we played a few gigs in and around Sheffield for a bit then started doing gigs outside of Sheffield about this time last year, recording demos while all this was going on.

I am right at the bottom compared to everybody else with press kits and demos and trying to get meetings. That's what I love about music and hate about it. That's why I respect people that are successful in the music business because you really have to build it from the ground up.

Basically, every band that makes it has some dude with some sense of business. I don't know if our band would've been so successful were it not for Daniel's [Kessler] insight into how things really work. Daniel was the one who was diligently saying, "We should make a demo, send it out, play shows but not too many shows, get on shows with touring bands that are coming to New York."

I have started to record some demos so hopefully in the near future I can play live.

I always loved writing songs - writing for myself and demo-ing songs, really with no intention of ever letting anyone else hear them. Finally the Foo Fighters stuff happened when I just went to the studio down the street from my house and recorded some stuff in about five or six days, and all these people wanted to release it as an album. I wanted to release it on my own, with no photos and no names on it.

Demos are something you do in the early stages of your career, but when you get going, you just go in and record the song.

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

I thought I'd be wasting my time to go to commercial record companies and make demos for them, because don't forget, I was doing what I was doing and nobody understood what I was doing.

When I write - I always write on my own - I demo those songs on a four-track.

I didn't really feel any pressure when I've made records, I haven't as yet anyway. I feel when I'm making a record that I'm so excited about making new songs that when I'm doing demos of new songs, as soon as I make one that's really different I get really excited about the record, I don't care about the last record anymore.

That's such a wonderful thing about the mixing process is when you write the demo or the track, [and] it sort of goes through a couple of different changes and you don't really know what tracks are going to end up working out.

Opinions are like demo tapes. I don't want to hear yours

It's taken a long time but eventually when I had the songs in place and demos right and I found myself a manager, that's when everything started happening quickly but I think that's always the way it is.

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.

But I like to listen to demos. I like to hear the finished product. It's like listening to a song - I mean, a story. If you're going to sit here and tell me a story, I just like to listen. I don't want to make them up.

I never record anything like a demo, I just go for it.

Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too.

DUST includes rarities, demos, unreleased songs and instrumentals, live recordings, and more.

Also I played on a lot of demos in the early days of the Stones.

I actually produced other people's vocals for a long time when I first signed my publishing deal and I had just sort of decided that I only wanted to be a writer. I would be in all of these writing sessions, and a lot of times my publisher would say, "You should get a demo singer to sing it because then it doesn't identify as a Solange song."

I would love to make a bunch of country demos and write country songs for really great country singers.

I really think it's just the people you put around you. For instance, you mentioned "Kiss Goodbye," that was a song that was brought to me by Dan Couch and Dale Oliver. They had already started writing it without. They had put together this whole demo of music with no lyrics.

There is only one Steve Jobs, but if you want a shot at being the next Steve Jobs, learn to communicate using stories, demos, and pictures.

Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.

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.

France had shown a light to all men, preached a Gospel, all men's good; Celtic Demos rose a Demon, shriek'd and slaked the light with blood.

So it became in my mind a nine-carol service; an oratorio and orchestral concert all in one, but with narration. That's something I've learned about, because it's the story that keeps you in there. I wrote a libretto and I gave it to John Du Prez. We normally don't work in this fashion but I said off you go, and he went off for about three months. He brought me back this demo which blew my mind.

...Had dreams of fancy cars and limos, And all I wanted was somebody to listen to my demo.

In our time, the great task for libertarians is to find an escape from politics in all its forms—from the totalitarian and fundamentalist catastrophes to the unthinking demos that guides so-called ‘social democracy.’ . . . We are in a deadly race between politics and technology. . . . The fate of our world may depend on the effort of a single person who builds or propagates the machinery of freedom that makes the world safe for capitalism.

I was sixteen, I became a working guitar player gigging in LA, mostly in top 40 bands, then touring. I learned to take songs apart, down to their bones. Songwriters would hire me to produce their demos, which lead me to become a songwriter. The relationship and power music has to TV and film attracted me to composing [and] I learned to write for instruments other than guitar.

For a business plan written when the hardware was a wire-wrapped board and the software was three demos on a graphics substrate, it was pretty close.

I started out in a heavy metal band with a guy who could really play guitar, and I thought the only thing missing from Guided By Voices was a lead guitarist. In the early days, I would bring people in just to play leads, like Greg Demos and Steve Wilbur.

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.

But there's a thin line between songwriting and arranging. ... Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too. ... And I think it's safe to say that the single very impressive figure to me was Merle Haggard. ... Dylan can do no wrong. ... Glenn Gould was my hero. Glenn Gould was my idol. I loved him. ... I loved Hendrix. I mean, really, really loved him. As if he were one of the great classical composers. And he was. That's how I saw him.

The nuclear approach I'm involved in is called a traveling-wave reactor, which uses waste uranium for fuel. There's a lot of things that have to go right for that dream to come true - many decades of building demo plants, proving the economics are right. But if it does, you could have cheaper energy with no CO2 emissions.

I tend to like to write a song and then think about it for a while. I record a demo of it and then put it away and wait until I've gotten more thoughts on it or get sure exactly how to approach it.

Andrew [Ridgeley] and I had demoed a couple of our songs very cheaply, and we weren't expecting any kind of record deal. We just walked around with our demo tape, trying to find someone to give us the money to demo properly. Instead of that, we got a record contract. It was just an incredibly lucky break.

Mutineer is the first album of mine without a demo stage.

In a landscape where a 2.8 [demo rating] keeps you on the air, you can maintain that just by treating your fans with respect.

So when I was working with Amy Winehouse on "Back To Black," you know, she had all these beautiful songs, incredibly well-written and just her on an acoustic, nylon-string guitar. And she'd play them for me, and then I would kind of drum up my idea of what I thought - make a demo with what I thought the drums should be doing, the guitars - like, quite a crude demo.

In the 80s, if you wanted to make electronic music, it was a much tougher and more expensive process. For many people it would involve either spending loads of money on gear or else cutting demos in a proper studio. But I had this Casio keyboard and tape recorder and used to do stuff in my bedroom - I'd listen to Mantronix and all that. That was what I had so that's what I used.