Top 117 Demo Quotes & Sayings

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

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

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

Getting to prove yourself in a room that's not your typical demo is an experience every comic should try. It makes you better.

When an Occupy demo in the centre of Frankfurt makes world news, I shall hurry to join in.

It was a song I wrote for my wife as a present, never intending for it to be a Styx song. 'Babe' was a demo. The demo became the hit record, including all the background vocals, which were done by me.

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

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 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

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.

My demo was terrible, I sounded like a chipmunk. I was so young.

With the TV stuff, we usually hand in final, finished tracks. The turnaround time is so tight that there's no time to demo anything; you just do it.

That's how we're going to stay innovative. We're going to continue to attract entrepreneurs who say, 'I found an idea, and I can go to Google and have a demo in a month and be launched in six.'

I started off doing street team work for No Limit and Def Jam. I was the waterboy, the scrub. I was passing out demo tapes, and nobody wanted to hear them.

What happens with writing a song and demoing it, for me the demo always becomes the master.

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 have a very connected history with Bilal. I heard his demo years ago. I heard all of the magic instantly. He's a master at interpretation of song.

I thought eventually I'd have a family and I really didn't want to be a loser like that guy in his 40s still shopping his band's shitty demo tapes around.

'Titanium' wasn't supposed to be me singing, but they put my demo vocal back on.

You do need money to make a good demo; you do need a bit of financial support.

I remember being given a demo of the 'World Wide Web' at Peter Gabriel's studio in the early 90s, and I had zero comprehension that I was staring into the future. I was just happy with my pager and teletext on the TV.

At fourteen, I started sending out demo tapes.

Luther Vandross was doing fine, but he said, "Man, I want to do my own project." So he got us all to do a demo, and that demo was "Never Too Much." It took him a year and a half to get signed, because he didn't have a gimmick. The record companies were looking for his gimmick. They said, "What's your gimmick?" He said, "I sing. That's my gimmick." Anyway, he finally got signed and the record was released, and the rest was history.

When I was in bands, I always liked the demo best.

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'm recording another demo for another batch of record labels that we'll shop it around to.

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

I've realized that, as the years have gone on, I have become completely impatient with the demo process.

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.

Artists tend to get this thing called demo-itis, and I'm extremely guilty of that.

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.

I have a vision in my hand that the labels have these vaults, like Scrooge McDuck, except instead of gold coins they have these demo CDs, and sometimes they just go in there and take a swim.

When we recorded the song I Just Can't Stop Loving You, my vocal range is a little higher than Michael's range. He had me re-sing the demo in the new key. Then doing that he filmed me singing this demo in the new key. I actually said, "What are you doing? Why are you filming this?" He said to me, "Because I want to sing it like you. You sound so great and I want to sing it just like you." I said, "Oh, great, Mike, my friends are really going to believe me when I tell them that Michael Jackson wanted to sing this song just like me." We laughed about that.

I bought an audio technician mic and Pro Tools SE, the demo version and was recording in the basement.

I'd been trying to do this since I was 15, sending out the demo tapes and doing all the things that everyone told me that I should be doing. But no deal - like, never.

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

If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal.

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 demo all of my songs on Garage Band, where I pretty much play everything - not very well, but I manage to hammer out a drum beat and a bass idea.

No matter how slick the demo is in rehearsal, when you do it in front of a live audience the probability of a flawless presentation is inversely proportional to the number of people watching, raised to the power of the amount of money involved.

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.

I used to make demo tapes with cats that rocked with Russell Simmons and people like that. The history goes so far back; I've always been really focused on writing dope rhymes.

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.

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.

I brought the music out to L.A., and the producer Tommy LaPuma heard it and he said - "Man, I love it. Let's do it. Let's record it." I said, "Okay, where's the band?" He said, "We don't have a band. We want it to sound exactly like your demo." I said, "Well, I played all the instruments on the demo." You do that when you're making demos. You got your guitar, you got your sax. He said, "Well, I want it to sound just like that, so get all your instruments out here." So I ended up playing all the instruments.

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.

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.

If you wanna get away with murder, all you gotta do is shoot somebody in the head and put a demo tape in their pocket! 'This is a rap killing! Let's get outta here!'

Can we save the live demo for later, please? Bean Sidhe in angst, here.

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.

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.

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.'

Demo: presentation of a specific set of capabilities needed to solve the customer's critical business issue.

Our demo tape we got signed on was composed of three songs, 'Wham Rap,' half of 'Club Tropicana' and a verse and the chorus of 'Careless Whisper' and we thought that was good enough.

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.

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

The 'Chainsmokers' found me early on, before anyone knew about 'Hide Away,' and reached out. I heard the demo for 'Don't Let Me Down' and loved it.

Every time I'm out on the road, everywhere I go, somebody got a demo for me.

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.