Lots will get on the mic and tell huge audiences to pray for world peace. And there's a scientific study that shows when everyone prays for peace, whole war zones on the planet actually cease fighting for that day!
Even with Dream Theater, we track in a big studio and everything. But when it comes to doing leads, I don't really require a lot of studio to do that. I need a good sounding room and a Pro Tools rig, and some Neve mic-pres, and I'm good.
When I recorded my first album, my ego didn't let me believe that what I was gonna say on the mic, anyone would really care about. But then when I found out that they did, I started to take it more seriously.
And I'll break, when I'm through breakin, I'll leave you broke, Drop the mic when I'm finished, and watch it smoke
I actually like taking a mic and plugging it into an amp and giving it to a kid to see what they do, 'cause they flip out. They're way more in touch with their voices than we give them credit for.
Music was just played all around me, and I couldn't run from it. My pops, he never learned to sing, but he'd have his little drink on the side, and he'd put on the best of his hits - gangster rap or oldies - and he'd sing all day on his mic plugged up to the wall set-up. It's a trip. I've just seen that my whole life, so I've always just had a love for music. By the time I was 13, I really just jumped in it. And it's something I took on to have as a hobby.
Take emceeing, one of the foundations of hip-hop culture. A guy grabs a mic, steps up on stage and becomes a spokesman; the voice of the people. If anything, that might be the strongest similarity between hip-hop and comic books, with super heroes, like many rappers, fighting to make a change.
My first tape piece was made with that Sears Roebuck recorder. I modified sound using cardboard tubes with a microphone in the end to filter the sound. I had a wooden apple box with a Piezo [contact] mic and little objects that I could amplify on the box. I used the bathtub for reverberation.
I'm just looking for authentic engagement of some kind, and usually, after an hour or more, you get that. Some people talk at you. Some people just want to answer questions, but a lot of times, all of a sudden you drift away, and you don't remember you're on the mic, and you're in something real.
If you think your demeanor is mellow or not particularly charismatic, the material can life you higher. So write everyday, and get onstage or in a coffee shop where they are doing open mice, anywhere you can perform even if that means starting your own open mic night - and be your own self.
I don't have any computers in my studio, it's all analog tape. All analog tape, all old equipment, I mean my mics are like from the 60's and early 70's, everything in there is old.
Music will always be apart of my life, I have been given a gift of song and voice and I have to use it. I don't have a mapped out time when I should hang up my mic because what I may think is my time may very well be a time to continue.
Live audiences love me because I'm singing and actually am able to f**k with people live over the mic.
It's an absolute blast to be a voice actor, but also kinda scary that the vocal baby you just birthed out at a mic is then taken by other folks and becomes something else.
Whenever I am on camera or doing anything on mic, I don't have any process at all. I just do it and, when I'm finished, it goes away. There is no process. I wish there were some techniques to it. I just turn it on and off, and then I go home.
Hopefully people are upset for the reason I want them to be upset. Even when I was doing open mics, I've always had people upset. I've never been the consummate crowd-pleaser.
Every night there's a moment that I just wanna go back to bed. I just get nervous. Then I run on (stage) and as soon as I grab the mic then I'm fine.
I'm nervous ahead of every gig. I feel like running away three seconds before I'm due on stage. But I'm all right as soon as I get the mic in my hand.
How could I have not known about Ume? An Austin trio fronted by a whirling dervish of singer guitarist who in the standard PR band head shot looks like she wouldn't hurt a fly; yet give her a guitar, a Marshall stack and a mic and stand back, way back. She shreds. File under - Do Not Overlook and Go Tell Your Friends
James Brown's Live at the Apollo is not just a musical whiplash, it's a spiritual cleansing. You can just close your eyes and see him doing the splits, kicking the mic stand and doing a 360.
My only challenge was to tell my truth, man... figure out what I had to say. These days, it's not enough to boost that roomful of strangers. The young comic spends all their time trying to sound different from the million other jokesters grabbing for the mic.
I've always been funny. I look back in the day, when I would take the mic from my dad in church and just start goin', at age six, the first time I did it. I think 14 was when I knew I wanted to do it and promote my own comedy shows at the church. Then, everyone would come.
I don't like karaoke because the mics are always so worn out. The quality of the mics is such that you're always going (screaming) "Yeah, yeah!" and then you can't like it. It's like sometimes I'm too professional to get up and do it.
The fact is that really no comedian sets out to offend you. Some comics enjoy the challenge of taking a subject that is likely to be found offensive and trying to make it funny‚ but the object is still to make you laugh. Offense is only a calculated risk. It's highly unlikely that a comedian whose only goal was to repulse you would ever make it past an open-mic stage, far less build a long career of touring theatres and television appearances.
My first open mic was fantastic. I crushed. And my second mic was as bad as my first one was good.
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