Words matter. These are the best Demo Quotes from famous people such as Alan Walker, Iliza Shlesinger, Maria Brink, David Guetta, Natalia Kills, and they’re great for sharing with your friends.
Later on, when I signed with Sony, we wanted to re-release ‘Fade’ as ‘Faded’ with a brand new mix and with vocals by Iselin Solheim. I think Iselin was the first person who sung demo vocals for ‘Faded.’ And it worked out great! The way I got in touch with Iselin was through a guy that I work with in the studio.
Getting to prove yourself in a room that’s not your typical demo is an experience every comic should try. It makes you better.
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.’
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 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.
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.
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.
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.
We call it ‘demo therapy.’ We’re therapists on top of designers and contractors and real estate agents and we really sometimes have to push people past their comfort zone and show them what they like, they just didn’t know that they like.
When I was in bands, I always liked the demo best.
Every demo I do has a mandolin or resonator on it – some element of the bluegrass or classic country world that I grew up listening to and that first drew me in. And then I always try to find somewhere for a bluesy guitar sound, because that’s also what I love. Musically, I’m always finding my way home.
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’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.
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.
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 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 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.
I bought an audio technician mic and Pro Tools SE, the demo version and was recording in the basement.
Mutineer is the first album of mine without a demo stage.
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.’
Back in the Seventies, we bucked the trend. Instead of going to London and handing in a demo tape, we insisted the record labels came to Glasgow to hear us.
At fourteen, I started sending out demo tapes.
I always do very detailed demos. I feel that it’s better to show the director a demo that sounds as close to the final thing as possible with samples. It takes time to create, but I feel that it’s better to get the director on board very early on in terms of the sounds that I have in my head.
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.
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.
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 always loved singing, but I thought it was like drawing – just something you do in your own little corner to calm yourself down. But when my friend, the French songwriter Etienne Daho, listened to my songs, he was so moved that told me that I had to do a demo, share them with the world.
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.
When an Occupy demo in the centre of Frankfurt makes world news, I shall hurry to join in.
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.
‘Titanium’ wasn’t supposed to be me singing, but they put my demo vocal back on.
What happens with writing a song and demoing it, for me the demo always becomes the master.
When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.
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.