Zitat des Tages über Demo:
Mutineer is the first album of mine without a demo stage.
I used to cold call labels and pretend I was one of their artist's attorneys. I'd say, 'This is Jay-Z's attorney, we need to speak with Craig Kallman,' you know, owner of Atlantic, and they'd say, 'Right away,' and then I'd be like, 'Please just listen to my demo tape!'
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.
'Can't Get Closer' I originally recorded in about half an hour, just on my bed with a microphone. I actually re-recorded the song with a cleaner vocal take, but I decided to leave the demo version on there, just because I felt that instant where it was created is what captured the most emotion.
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.'
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.
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 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.
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.
When an Occupy demo in the centre of Frankfurt makes world news, I shall hurry to join in.
'Titanium' wasn't supposed to be me singing, but they put my demo vocal back on.
I think I first realized I wanted to be in country music and be an artist when I was 10. And I started dragging my parents to festivals, and fairs, and karaoke contests, and I did that for about a year before I came to Nashville for the first time. I was 11 and I had this demo CD of me singing Dixie Chicks and Leanne Rimes songs.
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.
With 'Rage,' it was a little bit different because this was going to be the public's first interaction with the 'Rage' IP. Early on, right after the tech demo, there was some marked concern internally how much of a bad thing it would be if the game went out and it wasn't well released and people got a bad taste off it.
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.
Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too.
I'm recording another demo for another batch of record labels that we'll shop it around to.
At fourteen, I started sending out demo tapes.
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.
My demo was terrible, I sounded like a chipmunk. I was so young.
I never record anything like a demo, I just go for it.
Visionary CEOs don't need someone else to demo the company's key products for them. They deeply understand products, and they have their own coherent and consistent vision of where the industry/business models and customers are today, and where they need to take the company.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal.
I can say without a doubt that being a mom is the ultimate test of my multi-tasking skills. I spend my day meeting startup after startup, helping our portfolio companies, bringing in speakers, and soon gearing up for Demo Day for our accelerator program.
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.
You do need money to make a good demo; you do need a bit of financial support.
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.
I was in Studio 54 one time; it was great. But I'm not a discotheque guy. Sometimes, if I had a new demo, I went to some discotheques to check it out - see how the reactions of the people were. But just to dance, I rarely did that.
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.
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.
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'd do a demo recording by myself, layering instruments on top of one another, and while that's fun, it doesn't have the same impact as getting some great players together in a great studio with a great engineer and producer, then waiting for the magic.
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.
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.