Mics Quotes

Live audiences love me because I'm singing and actually am able to f**k with people live over the mic.

I know for an actual fact that the things I say or that my brothers say on the mic are valid for life. What we say, if you're smart you get it, if you're stupid, you learn about 3 years later.

Any take, anything that's recorded while the mic is on, that could be the final take.

Performing live actually thrills me. Just get me a stage, get me a mic, and I'm going to be happy.

I used to wanna rap like Jay-Z, Now I feel I could run laps around Jay-Z, Nas ain't seen nothing this nasty, B.I.G. & Pac got it coming when I pass too. You got the mic, I ain't the one you wanna pass to

Ladies love me when I spray the mic But there aint no "I" in snuggling Aint no "U" in "Stay the night"

I'm a huge karaoke fan. Oh my God. I'm one of those girls who don't give the mic away. It's a problem. I'm a closeted pop star.

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 days of an open mic night when I'd rock up in an old jumper are over.

If rhyme is a crime, my mic is my co-defendant.

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.

I grew up in the spoken-word community. Before everybody had a home studio, or before we could get booked for shows, open mics were the only way to be heard by other people. It really gave me a chance to develop as a performer. Reading a piece of poetry with no beat in front of 20 people is way more challenging than rocking for 10,000 people.

I smoke on the mic like Smokin' Joe Frazier, The hell raiser, raisin' hell with the flavor.

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 love the energy that comes when I get on the mic. It keeps me creative and I love to hear what the fans want, what they love or hate about it.

'Cause I'll rip the mic, rip the stage, rip the system I was born to rage against 'em

My most embarrassing moment was probably when I was on tour and I would throw the mic out of my hand and catch it but one time I dropped it and I felt so stupid. My most exhilarating moment is every time I step on stage to perform.

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.

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.

If it was all about me, I'd do a whole lot of pop records, make a whole lot of money, just rake in the dough. But it's never been all about me. It's all about being a voice for the voiceless. People who can't speak for themselves, who don't have a mic, don't have a say.

Every time you see me that Hammer's just so hype I'm dope on the floor and I'm magic on the mic

I'm like Demerol... No disrespect to the Jacksons, but I kill mics.

Infinite was me trying to figure out how I wanted my rap style to be, how I wanted to sound on the mic and present myself. It was a growing stage. I felt like Infinite was like a demo that just got pressed up.

He hated crowds, never liked punk. He couldn't handle the nakedness of the rage -his own so sophisticated and finely tuned. He could never see the similarity between himself and Donnie Draino screaming into a mic.

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.

Are you tired of lyrical liars, passing fliers, Wannabe MC's, but really good triers, Tripping over mic cords, getting you bored, A total fraud, this kind of thing I can't afford!

I went to a performance-art high school, and a teacher there was signing me up for open-mic nights at the comedy club. I think about it now, and I think, 'Well, that may be inappropriate,' but it was great!'

I play chess, but my past is checkered, The mic and I are like staff and shepherd.

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 was living under a desk in West Hollywood. It was a closet that I shared with another comic. I was shocked when they called me to come in to try out for the show. The chances of me getting on a TV show and winning it is like one-in-a-million. I had only been doing comedy for six years at that point, so I was basically considered an open mic-er or maybe a feature act once in awhile.

You're talking about a whole camera crew and being mic'd up professionally everyday and just having another group of people following you around. It's a little different than having friends pick up a camera and follow you around.

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

All I need is one mic . All I need is one life, one try, one breath, I'm one man.

As soon as it's behind computers and machines, which the majority of the planet loves, I find it cold. I need to hear breathing. I like the idea of the mic being a captation of everything that's happening around.

I can totally identify with the younger kids. I'll never do what Jon Spencer did to me when I was 16, though. I made a tape with my friends and I put it onstage right near his mic stand by the pedal board and he pulled it out with his foot, kicked it to the center of the stage, looked me in the eye and stomped it to pieces.

One time I was singing along with a boy that looked like me in the crowd and he pushed away the mic and started making out with me and accidently bit my lip and I had to get stitches.

I came in the door, I said it before I never let the mic magnetize me no more. But it's biting me, fighting me, inviting me to rhyme, I can't hold it back...I'm looking for the line. Taking off my coat, clearing my throat, My rhyme will be kicking until I hit my last note.

Me and Biggie share a storytelling ability--he was an actor on wax, too. His stories were so vivid and torrid, he made you feel them. And we both have the hardness. When I come out on the mic, you know it's me.

There's a very old recording maxim that goes, 'Distance makes depth.' I've used that a hell of a lot-whether it's tracking guitars or the whole band. People are used to close-miking amps, but I'd have a mic out around the back, as well, and then balance the two. Also, you shouldn't have to use EQ in the studio if the instruments sound right. You should be able to get the right tones simply with the science of microphone placement.

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.

Before doing my first open mic, I was sitting in the back watching all these comedians banter back and forth and fire jokes and up each other, and I thought, This is where I wanna be.

I was new to acting on a stage in a narrative as opposed to acting on a stage as a stand-up. And like everything else it's just like comfort level. The first time I did stand-up I was at a place called the B3 in New York on Third and Avenue B and I not only didn't take the mic out of the stand, but I clutched the stand of the entire time.

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.

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.

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.

That's right I never hold my tongue for saving face Even the mic feedback will humm "Amazing Grace"

Granted, not really a joke, but how often do you get a mic in your hand? You know? So. I am sorry but don't anybody trip on my soap box on the way out. Don't anybody trip over that. And the chip on my shoulder's a little heavy. I have back problems now.

There are mics inside the instrument, a contact mic on my throat, and countless mics clustered around the air of the horn and throughout the room. I wanted to make something that was specific to the medium of recording.

I admire anyone who can walk across a stage to the mic and not trip.

I don't think coaches should have to wear mic's. It is an invasion of privacy. We are trying to accomplish things, and wearing microphones may hinder development by straining the nature of relationships coaches and players have.