Despite all the technical improvements, it still boils down to a man or a woman and a microphone, playing music, sharing stories, talking about issues -- communicating with an audience.
This microphone is the key to the universe. When you have this in your hands, you are the most powerful person in the whole world, let's get!.
I like to feel the burn of the audience's eyes when I'm whispering all my darkest secrets into the microphone.
Well I have a microphone and you don't so you will listen to every damn word I have to say!
Take a microphone out of my hands, and I'm just plain folks.
Every time I talk about this, I say: when the singer is singing, he must be respected, you must be able to hear what he's saying. You can't put a trombone and a drum up there, and a microphone on the drum, microphones on everybody. You can't hear what he's saying.
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'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'm liking the idea more and more of just standing up with a microphone and talking.
Things like microphones are dangerous things because you never know when they might feedback and squeal.
I was a shy kid with a broom handle that I pretended was a microphone.
When it comes down to the music, it's just you and the microphone. It's not you and the record execs.
Any man with a microphone can tell you what he loves the most.
I'd been studying the microphone for a dozen years, and I suddenly saw what I'd been doing wrong. I'd been singing too loud. One night I was listening to a record by Lester Young, the horn player, and it came to me. Relax, just relax. It's all going to be all right.
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.
I'll have the music, and then I'll just turn the microphone on, press Play and Record and sing. And whatever comes out ends up being the melody.
You don't need 30 million people to listen to your podcast. If 10,000 people listen to your podcast, which is not a hard number to achieve, then 10,000 people are listening, and you can build a community, and literally change the world just recording into a microphone.
I have a microphone on one ankle and an ankle bracelet on the other, so I'm well balanced today.
You're stuck in front of the microphone. You can't use your hands. I like to do things
I want to get to the point where one day I don't have to have anything but a rug and a microphone stand on stage and still be able to sell out places like Madison Square Garden, like Bruce Springsteen does.
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.
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.
A singer for me is more like someone who is standing alone with a microphone like Scott Walker, rather than someone who is bashing a plank and is spitting all over 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.
It was dripping and, you know, and there was a whole line of cameras and microphones. I felt like - you remember the honor guards, only it was a dishonor guard.
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