We saw very little of the real Jack Buck behind the microphone. He would touch people in ways that we will never know. Jack was much more than just an announcer.
I have this very abstract idea in my head. I wouldn't even want to call it stand-up, because stand-up conjures in one's mind a comedian with a microphone standing onstage under a spotlight telling jokes to an audience. The direction I'm going in is eventually, you won't know if it's a joke or not.
Also, from a technical point of view, as you're standing in front of a microphone all day, it's quite a good idea that I should play a laid back sort of character because if he was too frenetic, I'd be exhausted by lunch!
For years, I was stuck behind a keyboard rig. When I started playing guitar onstage, it was a bit of a release - not to be stuck in one spot the whole night. It's really enjoyable having the freedom to move around. You just have to remember to end up somewhere near a microphone.
It's funny, though, because when I first started going to races after we met, I was extremely nervous. It's like being backstage and hoping you don't trip over something or break an amp or accidentally speak into a live microphone, so I was really hesitant.
I loved the Cure and Bauhaus and the Smiths. The people in my town weren't privy to that kind of music and I got abused. I discovered the microphone to get out some of that angst.
And my mother fought hard for civil rights so that instead of a mop, I could hold this microphone.
I found at an early age the times when I learned the most about myself was when I got thrown out there on a stage in front of a microphone when you didn't really want to be out there, where you're kind of afraid.
Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you've had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.
The only thing I'd ever done with news was to read copy sitting at the microphone in the studio.
It's all about being comfortable, forgetting there's a microphone in front of you.
Voice work is fun. But about three-quarters of the things you enjoy about acting are just not there. You're not working with another actor; you're not working with an audience. You're just working with a bunch of writers and a microphone. It's very abstract.
I did things with the microphone stand that no-one else has attempted to do.
I'm still excited at being at a microphone and talking to listeners. I love that. It's the most basic element of what I do and I still enjoy it very much.
I spent many years writing and directing in radio drama, so I am comfortable with an audience or a microphone, but I do worry about the blurring of an author's public persona with the work itself. A good 'performer' can make a mediocre book sound strong, and a shy author can leave listeners missing the excellence of his or her writing.
I always say the best applause you can get is when you walk from backstage up to your microphone at a concert. It's also nice to walk up to the mike at an awards show, and that applause is great, too, but the best is when your fans are cheering for you.
I keep these songs in my head until I get behind the microphone. I never spend more than 30 or 40 minutes singing the vocal or it will sound mechanical. There are always mistakes, but it's about feeling more than being perfect.
Men have a lot less to write about, unless you're somebody like Tom Waits or John Lennon. And the female voice is much more suited to melody. Men have this barky thing - we're domesticated apes with a microphone.
When I sing, it's the most solitary state: just me, and the microphone, and the holy spirit. It's not about notes or scales, it's all about emotion.
Yeah, anybody can go in with two turntables and a microphone or a home studio sampler and a little cassette deck or whatever and make records in their bedrooms.
I'm honestly not the kind of person who wants to step up to a podium, test the microphone and be like, 'Hey, I'm homosexual and this is who I am, hear me roar.' That's not who I am.
I'd be a pop star. Although, I was once sat front row at a Rihanna concert when she came down to the audience and sat on my lap, pointed the microphone towards my mouth, and I couldn't sing a line.
You know, every time it comes, every time that light comes on or every time that camera comes on, every time that microphone comes on, the Mac Man seek and destroy.
For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.
There are few things quite so effortlessly enjoyable as watching an eminent person getting in a huff and flouncing out of a television interview, often with microphone trailing.
Man, if I get a chance to speak on the microphone, I've got to say something somewhere in there. You know, I'm going to laugh and have fun, too, but something has to be said that has some substance, because this is a platform, and the power that we have with words and with this microphone is phenomenal.
In America, we have bible-reading applications: every single one of those applications asks permission to turn on your microphone, your camera; it wants permission to read your e-mails and the right to send e-mails wherever it chooses.
I'm an actor. Whether I'm on stage, in front of a camera or a microphone, what I do is the same - although with videogames it requires a lot of imagination.
When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.
I love my lecture tours. I get up onstage. I have my stack of books and a glass of water and a microphone. No podium, no distance between me and the audience, and I just talk to people and get all excited and tell a lot of jokes, and sing some songs, and read from my work and remind people how powerful they are and how beautiful they are.
You're stuck in front of the microphone. You can't use your hands. I like to do things.
In voiceover, you have to restrain yourself when you're acting in the sound booth in front of the microphone. If you lean left or you lean right, you're going to lose the voice. Yet you yourself become animated when you're doing the part. So you'll see a lot of flailing arms, but a very still face.
When it comes down to the music, it's just you and the microphone. It's not you and the record execs.
I'm a frustrated stand-up comic. If you hand me a microphone and I get one laugh, then I'll go on for 20 minutes.
I missed being onstage behind the microphone. After a while, it was hard to hear another voice singing my lyrics.
You shouldn't really have to use EQ in the studio if the instruments sound good. It should all be done with microphones and microphone placement.
