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.

You won't see me at a microphone singing and tapping my foot. I spend a lot of money on sets, costumes and sound. I believe people deserve a show. I'm a singer, musician, dancer. I work hard, and I'm soaking wet when I come off.

When I first started to sing, people automatically asked what Barbi Benton was doing behind a microphone, and I'm determined to show them there is talent here.

I've sold all but one of my microphones, put away my mini-notebooks, stopped scouring the Internet for scraps of wisdom.

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.

I became the storyteller of South Side Chicago. I used an old Kiwi liquid shoe polish as a microphone. I'd go around the house interviewing everybody, telling stupid jokes, doing voices. I mimicked Sidney Poitier, Sammy Davis Jr., people on 'Laugh-In,' Flip Wilson.

People like my voice and say I can sing, but I don't like microphones in front of my face: it distracts me.

Anytime you give a man in a wig a microphone, anything can happen.

I didn't respond to people thrusting microphones at me and asking me questions that were unanswerable in a sound bite.

I don't write for an auditorium full of people. I don't write for the microphone; I write for the page.

Heckling is an act of cowardice. If you want to speak, get up in front of the microphone and speak, don't sit in the dark hiding. It's easy to hide and shout and waste people's time.

What we do every day onstage, there's lights, there's lots of other musicians, there's an audience, there's a microphone and mic stands - layers of the onion we have to kind of hide behind.

I didn't know what kind of sound I wanted to make. I didn't have no influences. I just heard my voice in the microphone and was like, damn, I like that.

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.

With the advent of cell phones, especially with the very small microphone that attach to the cell phone itself, it's getting harder and harder I find, to differentiate between schizophrenics and people talking on a cell phone.

It's sad that my daughter will get attention because of her daddy. I'm already watching her run around the house and pick up microphones. It's scary.

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.

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.

We designed a number of features from the ground up, like custom display and optics technology with very high refresh rates and pixel density. We added integrated 3-D audio, a built-in microphone so you can speak to friends inside virtual worlds, and precise mechanical adjustment systems.

I think one of my pursuits over the years is trying to answer the question of, 'What else can you do with a voice other than stand in front of a microphone and sing?'

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.

I become a better actor after I step on a stage in front of, like, 500 people when it's just me, a microphone and my guitar. You don't get as nervous walking into a room in front of 3 or 4 people and to do a scene or to walk on a set. You gain confidence.

I play a percussion instrument, not a musical saw; it needs no amplification. Where it's needed, they put a microphone in front of the bass drum. But, I don't think it's necessary to play that way every night.

There's this weird game called 'Blueberry Garden.' For that game an artist recorded some piano music, but evidently he only had a really terrible microphone on top of the piano, and I really liked it and wanted to experiment with that. So, I made piano recording and really mangled it, and kept experimenting with the technique.

Basically, radio hasn't changed over the years. 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.

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.

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 don't want to be the guy who's 50-something years old sitting in front of a microphone with my beard dyed black and my hat on backwards, yo-yo-yoing.

When I first started, it was a dare. Someone basically said, 'You're a tough guy... but I'll bet you won't get on a microphone in front of a bunch of people.' I was terrified, but I did it. Once I broke the ice and got onstage and got some laughs, I thought, 'That's not so bad.'

Stand-up was my entree into the entertainment world. I didn't have to act out somebody else's words. I could just stand there with a microphone, and nobody would interrupt me. It's the most narcissistic thing you could probably do.

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.